tag:blogger.com,1999:blog-48608373687870931732024-03-15T04:54:36.944+11:00Media Studies Teachers Online Resource CentreAn online collection of links, articles and websites relevant to the teaching of Media and Cinema Studies in the 21st Century. Designed with the needs of the contemporary student in mind, this blog is intended to be a resource for teachers and students of the media alike.Luluhttp://www.blogger.com/profile/14862417559223809805noreply@blogger.comBlogger195125tag:blogger.com,1999:blog-4860837368787093173.post-7787940137743213072021-12-02T10:27:00.002+11:002021-12-02T10:27:12.703+11:00Here's Why Movie Dialogue Has Gotten More Difficult To Understand (And Three Ways To Fix It)<p><span style="font-family: arial;">BY BEN PEARSON/NOV. 30, 2021 1:16 PM EST/UPDATED: DEC. 1, 2021 1:12 PM EST<br />Original article <a href="https://www.slashfilm.com/673162/heres-why-movie-dialogue-has-gotten-more-difficult-to-understand-and-three-ways-to-fix-it/" target="_blank">here</a></span></p><p><span style="font-family: arial;">I used to be able to understand 99% of the dialogue in Hollywood films. But over the past 10 years or so, I've noticed that percentage has dropped significantly — and it's not due to hearing loss on my end. It's gotten to the point where I find myself occasionally not being able to parse entire lines of dialogue when I see a movie in a theatre, and when I watch things at home, I've defaulted to turning the subtitles on to make sure I don't miss anything crucial to the plot.</span></p><p><span style="font-family: arial;">Knowing I'm not alone in having these experiences, I reached out to several professional sound editors, designers, and mixers, many of whom have won Oscars for their work on some of Hollywood's biggest films, to get to the bottom of what's going on. One person refused to talk to me, saying it would be "professional suicide" to address this topic on the record. Another agreed to talk, but only under the condition that they remain anonymous. But several others spoke openly about the topic, and it quickly became apparent that this is a familiar subject among the folks in the sound community, since they're the ones who often bear the brunt of complaints about dialogue intelligibility. </span></p><p><span style="font-family: arial;">"It's not easy to mix a movie," says Jaime Baksht, who took home an Oscar for his work on last year's excellent "Sound of Metal" and previously worked on Alfonso Cuarón's "Roma." "Everybody thinks you're just moving levers, but it's not like that."</span></p><p><span style="font-family: arial;">This problem indeed goes far beyond simply flipping a switch or two on a mixing board. It's much more complex than I anticipated, and it turns out there isn't one simple element that can be singled out and blamed as the primary culprit.</span></p><p><span style="font-family: arial;">"There are a number of root causes," says Mark Mangini, the Academy Award-winning sound designer behind films like "Mad Max: Fury Road" and "Blade Runner 2049." "It's really a gumbo, an accumulation of problems that have been exacerbated over the last 10 years ... that's kind of this time span where all of us in the filmmaking community are noticing that dialogue is harder and harder to understand."</span></p><p><span style="font-family: arial;">Join me and these industry experts as we sort through that "gumbo" and identify some of the most prominent reasons it has become more difficult to, in the paraphrased words of Chris Tucker's Detective Carter in "Rush Hour," understand the words that are coming out of characters' mouths.</span></p><p><span style="font-family: arial;"><b>It's A Purposeful Choice</b></span></p><p><span style="font-family: arial;">When it comes to dialogue unintelligibility, one name looms above all others: Christopher Nolan. The director of "Tenet," "Interstellar," and "The Dark Knight Rises" is one of the most successful filmmakers of his generation, and he uses his power to make sure his films push the boundaries of sound design, often resulting in scenes in which audiences literally cannot understand what his characters say. And it's not just audiences who have trouble with some Nolan films: the director has even revealed that other filmmakers have reached out to him to complain about this issue in his movies.</span></p><p><span style="font-family: arial;">Donald Sylvester, who took home an Oscar for his work on "Ford v Ferrari" and is currently serving as the supervising sound editor of "Indiana Jones 5," says Nolan is a singular figure in this regard. "I think Christopher Nolan wears it as a badge of honour," Sylvester declares. "I don't think he cares. I think he wants people to give him bad publicity because then he can explain his methods to everybody and we can all learn. But I don't think other people actually understand it."</span></p><p><span style="font-family: arial;">Baksht thinks the complaints about Nolan's work, specifically the hubbub about unintelligibility surrounding last year's twisty action thriller "Tenet," are overblown. "I think in the case of Mr. Nolan, with ["Tenet"], the characters have a mask, and he wants to keep the original sound because I think for him it's more real," he says. Presumably, that mentality also extends to "The Dark Knight Rises," in which Bane's mask muffled a significant percentage of that character's lines.</span></p><p><span style="font-family: arial;">Thomas Curley, who won an Oscar as a production sound mixer on "Whiplash" and previously worked on "The Spectacular Now," has also seen this type of mentality at work. "Not everything really has a very crisp, cinematic sound to it in real life, and I think some of these people are trying to replicate that," he tells me.</span></p><p><span style="font-family: arial;">Baksht says that type of creative aesthetic does not need to permeate an entire movie — it can sometimes change from scene to scene depending on the director's goals in telling the story. Although, as this anecdote illustrates, its effectiveness remains debatable:</span></p><p><span style="font-family: arial;">"In the case of Alejandro González Iñárritu, he did a movie ['Biutiful'] where all the dialogue was really dirty. They were in Spanish, but you weren't able to understand much. When I asked his sound designer about this issue, he told me the reason they wanted to keep the dirty dialogue was because the situation was so awful in the life of the character that it helped the feeling of depression. I told him, 'Yes, I think the audience got depressed because they couldn't understand anything!' But when [Iñárritu] did 'The Revenant,' the dialogue was pristine and perfect."</span></p><p><span style="font-family: arial;">I understand his point, although I take issue with using "The Revenant" as an example of pristine dialogue because that film features Tom Hardy in a supporting role, and Hardy is one of the most notoriously difficult-to-understand actors working today.</span></p><p><span style="font-family: arial;"><b>It's in the Acting</b></span></p><p><span style="font-family: arial;">Hardy occupies a unique position in film acting these days, having developed a delivery style that's frequently so indecipherable it's as if he's purposefully challenging audiences to lean in and understand what he's saying. But what about actors who aren't quite on that level of unintelligibility?</span></p><p><span style="font-family: arial;">"It seems to be a little bit of a fad with some actors to do the sort of soft delivery or under your breath delivery of some lines," Curley says. "That's a personal choice for them. Our job is to record it as well as we can regardless."</span></p><p><span style="font-family: arial;">Mangini says that in the old days, "you could count on an actor's theatricality to deliver a line to the back seats." But acting styles have changed so dramatically over the years that it has become much more difficult to capture great sound on the set. When actors adopt that more naturalistic style, "it's even harder for the production sound mixer to capture really quality sound. Now we get those compromised microphone positions here in post-production, reaching for a dialogue line that is barely intelligible or maybe even mumbled because it's an acting style, and already, we're behind the 8-ball in trying to figure out a way to make all of those words intelligible."</span></p><p><span style="font-family: arial;">Karen Baker Landers, whose credits include "Gladiator," "Skyfall," and "Heat," among many others, has her own term for it. "Mumbling, breathy, I call it self-conscious type of acting, is so frustrating," she says. "I would say a lot of the younger actors have adopted that style. I think the onus also falls on the directors to say, 'I can't understand a word you're saying. I'm listening to dailies, and I can't understand.' No amount of volume is going to fix that."</span></p><p><span style="font-family: arial;">That naturalistic performance style might feel right for actors in the moment on set, but it can be hell for the sound professionals who have to clean it up afterwards. "We're very careful to make sure there's clarity," Baker Landers says. "You go in and you volume-graph up a vowel, or one letter. You go in and you surgically – maybe if it's not right on camera, you slow it down. There's all kinds of things we spend hours trying to do that may help a performance. We really strive for that."</span></p><p><span style="font-family: arial;">But they can only do so much.</span></p><p><span style="font-family: arial;"><b>Sound Isn't Respected Enough On Sets</b></span></p><p><span style="font-family: arial;">Another ingredient in this complicated gumbo is how the sound team is treated during the process of filming.</span></p><p><span style="font-family: arial;">"What we see from our brothers and sisters in production is a never-ending [complaint] that they don't get the respect they need to get the microphone where it needs to be to capture the sound clearly," Mangini says. "That's because as movies have matured in the last 15 years, movies have become more visually exciting. And because of that, it is less likely that you're going to be allowed to put that boom mic right where the actor is, because it's probably going to drop a shadow because it's in front of a light that the camera team insists has to exist to get the perfect look of the shot. So [the visuals have] taken precedence over what we hear."</span></p><p><span style="font-family: arial;">Sylvester agrees with that sentiment. "If the sound guy goes, 'Can you get one more take for me?' they go, 'Nope, we're wrapping. We've gotta move on to another setup.' It's because pictures are the most important thing, and we do a good job fixing sound at the end of the day. So they go, 'We'll fix it in post.' That's literally their go-to answer. 'I just need to get this.' 'Yeah, we'll fix it later.' And we do, unfortunately. But it's not because we want to. It's because we have to."</span></p><p><span style="font-family: arial;">Another "Whiplash" Oscar winner, Craig Mann, acknowledges that less time on set can have a negative effect on the sound crews. "There's more demand on crews to do many setups a day, and that could be a contributing factor," he says. "The production sound guy is the tip of the spear in terms of our first line of defense, and oftentimes if there are problems, the good ones will approach the director or the AD or the DP and say, 'Hey, this isn't working, you're going to miss this.' Oftentimes it gets handled. But on the other side, sometimes there are a lot of production sound guys that do not feel empowered or have had a bad experience about speaking up in the past, or whatever the reason is, and the material gets back to the cutting room and it's a mess, and [they say], 'Well, we thought everything was fine!'"</span></p><p><span style="font-family: arial;">"I would blame it more on schedule and budget and maybe trying to rush," Baker Landers says when this topic arises. "It's an art form to be a dialogue editor. It's an art form to be a great production recordist. Then to be able to get the clarity of dialogue in a mix with everything else going on and have the dialogue feel natural and not forced is another art form, all of which take time. Budgets and schedules are crunched on a lot of projects, and some of these are amazing films."</span></p><p><span style="font-family: arial;"><b>Technology (AKA The Jurassic Park Problem)</b></span></p><p><span style="font-family: arial;">One high-profile Hollywood sound professional who wishes to remain anonymous points to the evolution of technology as an ingredient. "The reason people don't remember having these same audio issues with older films is that [now] we have more: more tracks to play with, more options, therefore more expected and asked for from the sound editors," they say. "If you listen to, say, 'Four Weddings and a Funeral,' you'll hear every word ... the sound was cut on film back then, and with limited time, track count, and budget, these are the results you got."</span></p><p><span style="font-family: arial;">Thomas Curley concurs with that assessment:</span><span style="font-family: arial;"> "A lot of it has probably happened more recently because of the almost ubiquitous use of digital audio and digital cinema now. Part of the reason with that is because when everything was shot on film and edited with tape, it was a much more laborious process and it was much more technically challenging to do a whole lot with sound design. Everything had to be a very conscious choice and a very intentional soundscape that they create. Since it was so cost-intensive and labour-intensive, they wanted to make sure that the story got across first and emotion gets sort of directed with music, and that's about it. And every pass that you do with an analogue system depletes the quality as well: it's like making a photocopy of a photocopy. But now, they have much faster turnarounds and much more capabilities as far as what they can do with the sound design, including playing around with ambience and sound effects. To put a concrete reason on it is hard, but a lot of it comes down to 'I have this toy, so I'm going to play with it.'"</span></p><p><span style="font-family: arial;">The anonymous sound pro also pointed to what they view as an increase in the amount of music in modern movies compared to older films, bemoaning directors' over-reliance on music as "pushing emotion" on audiences and the way music and dialogue are forced to jostle for prominence in the mix. "The technology we have today is so vastly improved that there is no limit to what can be added: whatever the director wants, for months on end. We literally have hundreds of tracks at our disposal ... in a final mix, we, therefore, have a lot to deal with. Unending score smashed up against hundreds of tracks, with the client asking to hear every nuance above every other nuance."</span></p><p><span style="font-family: arial;">Curley sums it up beautifully. "It might fall into the realm of the 'Jurassic Park' thing: they spend so much time realizing that they can do all these things, but not thinking about if they should do all these things."</span></p><p><span style="font-family: arial;"><b>Familiarity/Passive Listening</b></span></p><p><span style="font-family: arial;">All four of those contributing factors to dialogue unintelligibility are the result of decisions made on sets. But by the time a film makes it to post-production, editors can be afflicted by something Karen Baker Landers calls "passive listening." Donald Sylvester has another name for it – "familiarity" — and it's exactly what you think it is.</span></p><p><span style="font-family: arial;">"What I mean by familiarity is, when we're making a movie, it takes a long time," says Sylvester. "It takes weeks and months. If there's something that's unclear at first and you turn to the guy next to you and go, 'What did he say?' and he's like, 'Bring the car around the garage.' The next time you hear it, you go, 'Oh, OK, got it. Bring the car around the garage.' But they get familiar with the bad sound to the point where they no longer find it to be a problem."</span></p><p><span style="font-family: arial;">Mark Mangini puts it like this: </span><span style="font-family: arial;">"The director is sick of talking to the writer and giving them rewrites, sick of talking to the actors and giving them line reads, and by the time you get to post, every single syllable is known by heart. So imagine what that creates in a sound mix where we're supposed to correct the dialogue. We're no longer critically listening like we should be. Because we're in fact zoning out on whether or not the audience is actually getting the critical information they need. We know what the critical information is: we've been dealing with it for months. So in a sense, we have to challenge ourselves daily – and we certainly do this in sound – to try to remove ourselves from that equation and re-inject ourselves with a fresh perspective to see if we're actually making clear dialogue such that the audience understands it."</span></p><p><span style="font-family: arial;">In Craig Mann's experience, though, the idea of familiarity is not a widespread issue. "As someone that does this on a daily basis, I think dialogue clarity is the number one priority on the mixing stage," he tells me. "Dialogue, music, and effects, in that order, is usually the chain of priority. If you can't hear the dialogue, we're going to find a way to hear it. Just speaking of the couple things that we've done even this past year, I can say Joe Carnahan, writer/director, wants to hear every word. Tyler Perry, we just did something with him, wants to hear every word. Sean Penn wants to hear every word. So I don't necessarily agree with getting numb to it. I think it's incumbent upon us to have that fresh ear every time we show up."</span></p><p><span style="font-family: arial;">Sylvester also points out that unfamiliarity may be an issue in some instances. "What I'm wondering is if, sometimes, some of these films that we see, people are saying words that we don't know what they mean, such as 'Dune,' where they start talking about characters and places that sound unfamiliar. They do it in such a way, offhandedly, where it's like, 'What did he say?' Some of it is the content."</span></p><p><span style="font-family: arial;"><b>Mixing For Cinemas</b></span></p><p><span style="font-family: arial;">One of the most fascinating things I learned when speaking with these folks is the gulf in quality that can sometimes occur between what a film sounds like in the mixing stages and what it can sound like when it plays in a multiplex. Mann says this isn't a new problem — it's actually been happening for decades:</span></p><p><span style="font-family: arial;">"You mix it at your level in the mixing room, and theoretically, that is supposed to be the same level that is represented in the movie theatres on the Dolby Cinema processors, therefore giving you an exact translation, more or less, of what you've done on the mixing stage. But what's happened is, particularly in the '90s, because that felt like the time when they were doing the loudest mixes – I didn't mix in those times, but the stories were that mixers and maybe directors would want stuff mixed at a level that was just ear-bleeding. And what would happen is, that would get to the theatre, there would be complaints from the patrons, and the theatre would be compelled to turn down the mix. And when the next feature came in the next week, the level was never reset, and now that level is playing way low for the regularly mixed movie. That's a problem that vendors have been dealing with for many years. I know [it's still happening]. For example, the Landmark Theater chain does not play their theatres above 5.5 on the cinema processor, where the set standard is supposed to be 7 on that processor. </span></p><p><span style="font-family: arial;">The idea that a significant theatre chain would purposefully ignore industry standards for something as crucial as sound is genuinely shocking. I reached out to Landmark's customer service and asked them directly about this issue, but they did not respond in time for publication.</span></p><p><span style="font-family: arial;">Thankfully, I have not heard any similar stories about AMC Theaters, the largest theatre chain in the United States. However, I was curious about the configurations that occur when a new sound system is installed in an AMC cinema, how frequently their systems are upgraded or replaced, and how the company maintains quality sound conditions across its vast empire of theatres. I reached out to AMC, and they responded with this statement:</span></p><p><span style="font-family: arial;">In general, our guest feedback, both recently and stretching back the last several years, does not match your assessment about dialogue becoming more difficult to understand. Among guest feedback, which is tracked through survey results and through incoming contacts from guests, there has not been an increase in complaints as a result of the audio, regardless of the type of movie. Regarding your questions about our sound equipment, our speakers and sound systems are calibrated upon installation. They are routinely checked and recalibrated whenever necessary to ensure the best possible sound quality.</span></p><p><span style="font-family: arial;">Additionally, for guests who would like to follow the dialogue on screen, AMC now offers Open Caption showtimes at 240 of our locations, and in every major market in the United States with at least two AMC theatres.</span></p><p><span style="font-family: arial;">Meanwhile, Baker Landers thinks part of the trouble may have begun when theatres shifted away from projecting movies on film. In that transition, union projectionists — the people who knew the ins and outs of how to properly present a movie with care — were largely kicked to the curb in favour of inexperienced employees who essentially pressed play on a digital system and could then busy themselves doing other tasks. She tells me a story about how she went to see one of her own movies at a big multiplex and the auditory experience was so bad, she was compelled to point it out to the manager.</span></p><p><span style="font-family: arial;">"I did a film that was [played] at a 4 [out of 7 on the processor scale]," she says, still appalled by the memory. "I was at a matinee with a lot of elderly people because I took my mom, and I'm like, 'None of these people can hear what's happening.' The manager, who was probably all of 22 years old, said, 'Well, that's how the film was done.' And I said, 'No, I did the sound on the film. That's not how it was done.'"</span></p><p><span style="font-family: arial;">When sound pros encounter those dumbfounding levels of separation between the mixing stages and theatres, Mann says there can be a schism about the best way to move forward: </span></p><p><span style="font-family: arial;">"You're going to have some people on the mixing stage who want to turn [up that volume higher than the standard of 7] to compensate for the fact that theatres are playing it low. But [if you do that,] when you go to those theatres that are calibrated correctly, you're going to blow the doors off that theatre because it's going to be ripping loud. So one thing we always try to tell our people is that you have to be happy with the mix in the properly calibrated environment, and when you go down to your local movieplex, the speaker could be blown, the level could be low, God knows what's going to happen when you're out in the wild, and we can't control all of that."</span></p><p><span style="font-family: arial;">Baker Landers knows on which side of that divide she falls. "We mix and release the film for the best-case scenario, saying, 'This is how it should be.' A lot of times, we'll hear people say, 'They're not going to be able to hear this in certain theatres in the Midwest, so should we do this louder?' But then you don't have a standard any longer. You have to say, 'This is the standard. We're doing it for the optimum viewing experience.' And hopefully, theatres and everyone else rise to that."</span></p><p><span style="font-family: arial;"><b>Mixing For Streaming</b></span></p><p><span style="font-family: arial;">Mixing sound for theatres can be tough, but mixing sound specifically for streaming has its own set of challenges. "We, in fact, do a separate mix for streaming," Mangini says (although I later learned this isn't true for every single movie across the board). But since nothing is ever easy, another problem arises when streaming enters the picture: compression. In layman's terms, think of compression as audio files basically being shrunk down in order to be efficiently transported across the Internet to your viewing device. That process sounds almost magical, doesn't it? It is — until you realize that those shrunken files are of significantly lower quality than what you'd get if you watched that same movie on a Blu-ray. (If you're keeping score at home, this is yet another point in favour of preserving physical media at all costs.) </span></p><p><span style="font-family: arial;">"Very often, the streamed audio is a compressed version that you wouldn't get on a Blu-ray," Mangini explains: </span><span style="font-family: arial;">"On Blu-ray, if you select 7.1, that is our full fidelity, 48 kilohertz, 24-bit master audio, just as it came from the mixing studio. You can get that on a Blu-ray, and you can get that on certain premium platforms. I think you have to pay extra money for that. But otherwise, it's most common that when you stream, you get a degraded version of what you mix that even we didn't approve. It's done after the fact after we ship the masters. The only way [streamers] can get the bandwidth they need for you to see image and sound in sync is to compress everything."</span></p><p><span style="font-family: arial;">Compression is inescapable when streaming is involved, but it turns out not all streaming platforms are created equal. Craig Mann tells me something he says "is not well-known" outside the sound community: different streamers have different specifications when it comes to their audio mixes. "Netflix has excellent specs in terms of dialogue norm and overall levels," he reveals. "They need a particular level in order to pass quality control, and the level is essentially based on the dialogue level throughout the length of the program."</span></p><p><span style="font-family: arial;">But since there's no industry standard in how to measure audio for streaming, other platforms base their levels on other parts of the sound mix. Case in point: Mann recently worked on Joe Carnahan's "Boss Level," which was originally meant to be a theatrical release. "For a variety of reasons, it ended up at Hulu, and when we got a look at that spec, they require it to be based on the overall [volume] of the film, not on the dialogue level of the film. Consequently, that's a big action movie with shooting and cars and big music, and the result of that is that you have a much more squashed up, un-impactful mix ... there are only a couple different ways of measuring these things these days, and I can only imagine that it's somebody just not understanding the reason why it should be this and not that."</span></p><p><span style="font-family: arial;"><b>Home Theater Woes</b></span></p><p><span style="font-family: arial;">There is yet another important variable in this sprawling equation, and it might be the most important one of all: the home theatre experience. "Ultimately, the historical record of the film will not be seen in theatres, it will be what you see in your home theatre," Karen Baker Landers says. "That's how most people see certain products. So you want it to be great."</span></p><p><span style="font-family: arial;">For audio mixers, the theatrical mix comes first, followed by a streaming mix. Then, a stereo mix will often be created, funnelling the full scope of the sound mix through just two simple speakers in a process Donald Sylvester likens to "taking a beautiful steak and dragging it through the dirt."</span></p><p><span style="font-family: arial;">"A lot of people watch it on their flatscreen with their soundbar and they think it's going to be an improved sound situation, but it may not translate," says Sylvester: </span></p><p><span style="font-family: arial;">"Some TVs take the 5.1 [surround sound mix] and they turn it into a stereo. They have algorithms inside the TV. It's not even our mix. We don't even know what it sounds like. I think a lot of tuners do that if you have a receiver — I know they have algorithms, and they also put colouring on it, like 'cinema approach' that adds reflection and noise and stuff that you don't want in the mix. That's another problem. You don't know how it's being presented in the home."</span></p><p><span style="font-family: arial;">Complicating matters even further is the unfortunate fact that "not every filmmaker knows that you have to rebalance your film so it plays differently on a home theatre," Baker Landers explains. "That's a big problem. Because if you've mixed this for spread in a theatre and you just do a simple transfer with some kid at night who doesn't know what they're doing, who didn't [work on] the movie [originally], there's a huge problem with that. I think that problem needs to be addressed. People who aren't in the industry complain to me all the time: 'Why can't I understand the dialogue? Why am I always riding the levels? The music comes in huge.'"</span></p><p><span style="font-family: arial;">Craig Mann tells me most modern movies are required to create a separate mix for home video, but there is still the occasional film that decides to skip that step in the process. "Those mixes often have less dynamic range than the theatre mix," Mann says. "If you're really having to ride the volume around a lot, chances are they didn't have a home theatre mix on that."</span></p><p><span style="font-family: arial;">So, How Do We Fix This?</span></p><p><span style="font-family: arial;">Now that we know the key issues that are contributing to this lack of intelligibility, what can be done to make things more intelligible? From the sound of it, this problem is going to require a multi-pronged approach.</span></p><p><span style="font-family: arial;">One prong involves educating people about the importance of sound, from studio execs to the filmmakers themselves. "There's a lot of people who don't prioritize sound," says Thomas Curley. "They know that they need to have it, but they don't necessarily think about it in a very creative way and don't really like to bother with it much."</span></p><p><span style="font-family: arial;">"Sound is still a mystery to a lot of people," Karen Baker Landers asserts. "It's intangible. With a picture, you see it. You understand." Ironically, that lack of understanding of how sound works trickles down to audiences literally not being able to understand what characters are saying on screen. Perhaps if the processes of capturing, creating, and shaping great sound were better understood throughout the industry, substantial steps to improving those processes could be implemented.</span></p><p><span style="font-family: arial;">Another prong involves sound professionals consistently finding ways to up their game to meet the changing circumstances of the moment. "We can do better in post in terms of how we manage those mixes that are designed specifically for a non-pristine sound environment," Mark Mangini admits. "I would argue that we're probably not doing a good enough job with those mixes, and part of it might be that the individuals who are working in those mixes probably have a really super-duper sound system at home and they're not fully aware of how compromised the home environment can be."</span></p><p><span style="font-family: arial;">That involves thinking outside the box and staying vigilant about the ways the average person is watching a movie. "What can we do technically? I think it's our brain that's the technical solution to this," Donald Sylvester explains. "Because all these gadgets and tools that we use to plug into this are just tools to make the storytelling clearer or better or more exciting. They're just components. At the end of the day, you still have to have a brain telling you what needs to be heard, and when and how ... I think the solution is brainpower and being aware of what we're losing in these new presentation environments that people are watching these films in."</span></p><p><span style="font-family: arial;">The third and final prong involves having tough conversations on the set which establish priorities and make sure everyone is on the same page. Here's a story from Mangini illustrating how having a potentially awkward conversation can result in a change that has a notable improvement on the final product: </span></p><p><span style="font-family: arial;">"There's a director I've worked with five times, and for four films, we have not had great sound. And this director only makes talky movies. Yet, we still have dialogue intelligibility problems. Mostly because the crew, unbeknownst to him, hasn't respected the sound team on set enough to give them the tools and access they need to get a great recording. It took four films with this director for me to finally get up the gumption to say, 'Dude, you keep telling me dialogue is king in your movies, but you don't put your money where your mouth is. This film, here's what you're going to do: you're going to call a department heads meeting, introduce your sound mixer, and you're going to say, 'See this individual? You have to listen to what he asks you to do, or you're going to answer to me.' And you know what? We got the best track we've ever got. All it took was a little bit of collaboration and communication, and all of a sudden, grip and electric are moving generators a hundred yards away instead of having them right around the corner from the set. It takes an infinitesimal amount of extra effort to get us close to what we need, but it takes somebody with authority to make it happen. Me as the sound designer, I'm not a loud enough voice. But a director is."</span></p><p><span style="font-family: arial;">Sylvester offers an optimistic closing thought which underlines that point. "There's a lot of people who are moviemakers who aren't technicians, so they don't really understand a lot of this. They just like to make movies. But if we explain to them how we're not getting the message out properly and people aren't getting the message, maybe the artists themselves will take steps to fix it."</span></p><p><span style="font-family: arial;">RECOMMENDED</span></p><p><span style="font-family: arial;">Read More: <a href="https://www.slashfilm.com/673162/heres-why-movie-dialogue-has-gotten-more-difficult-to-understand-and-three-ways-to-fix-it/?utm_campaign=clip">https://www.slashfilm.com/673162/heres-why-movie-dialogue-has-gotten-more-difficult-to-understand-and-three-ways-to-fix-it/?utm_campaign=clip</a></span></p>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-18043270987321166202019-12-13T08:35:00.001+11:002019-12-13T08:38:21.514+11:00The true nature of creativity: pilfering and recombining the work of your forebears (who, in turn, pilfered and recombined)<span style="font-family: Arial, Helvetica, sans-serif;"> </span><div class="separator" style="clear: both; text-align: center;">
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</span><span style="font-family: Arial, Helvetica, sans-serif;">Alex from Copy Me (<a href="https://boingboing.net/?s=%22copy%20me%22">previously</a>) writes, "Copying is one of the most essential steps to creativity. And if we don’t understand how it works, copyright can easily become detrimental to the very creativity we want to protect. Copy-Me's <a href="http://copy-me.org/2019/12/the-creativity-delusion-part-3-geniuses-steal/">got a new video</a> about how even the great geniuses copied others and how this practice goes waaaay back to the most famous artists and inventions. With loads of examples and quotes from experts. We tried to reach the emotion behind the beliefs we all carry with us because facts alone don’t change anyone’s mind, especially when those beliefs are so woven into every aspect of our society. It’s called, appropriately, '<a href="https://www.youtube.com/watch?v=CB1KE5dbOZo">Geniuses Steal</a>', the 3rd part in a miniseries about how minds really work and how the romantic notions about creation hinder our own ability to create.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> <span id="more-757262"></span> </span><blockquote>
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We know geniuses are not real and minds don’t have Eureka moments. But
we still cling to the idea of an original artist. That romantic notion
of someone who creates something out of nothing, with their mind alone.
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But the truth is every single piece of art and technology ever created
is a remix. Shakespeare copied. Mozart copied. Picasso copied. Morse
copied. Tarkovsky copied too. They’re all based in the work of others
before them. The obsession with originality is quite a new phenomenon in
the history of our species. And maybe it’s time to reconsider how art
and inventions come about before our laws destroy the very creativity we
want to protect.
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Art and inventions are extraordinary, there is no doubt about that. But
the steps taken are quite ordinary. We don’t need magical out-of-this
world explanations when the answers are right in front of us. And it’s a
lot easier to get started on something when you don’t expect your ideas
to come from another world, isn’t it?
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://copy-me.org/2019/12/the-creativity-delusion-part-3-geniuses-steal/">The Creativity Delusion: Geniuses Steal</a> [Copy-Me]</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Link to original article on <a href="https://boingboing.net/2019/12/11/roll-over-beethoven-2.html" target="_blank">Boing Boing </a></span>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-64157205881688921852018-11-01T14:12:00.000+11:002018-11-01T14:14:36.618+11:00The New Music Modernization Act Has a Major Fix: Older Recordings Will Belong to the Public, Orphan Recordings Will Be Heard Again<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">BY <a href="https://www.eff.org/about/staff/mitch-stoltz">MITCH STOLTZ</a>SEPTEMBER 19, 2018 </span><br /><br />Update: The revised Music Modernization Act passed by the Senate has been signed into law as the <a href="https://www.congress.gov/bill/115th-congress/house-bill/1551/text?q=%7B%22search%22%3A%5B%22music+modernization+act%22%5D%7D&r=3">Hatch-Goodlatte Music Modernization Act</a>.<br /><br />The Senate passed a new version of the <a href="https://www.congress.gov/bill/115th-congress/senate-bill/2823">Music Modernization Act</a> (MMA) as an <a href="https://www.congress.gov/congressional-record/2018/09/18/senate-section/article/S6237-1?q=%257B%2522search%2522%253A%255B%2522actionDateChamber%253A%255C%2522115%257CS%257C2018-09-18%255C%2522%2BAND%2B%2528billIsReserved%253A%255C%2522N%255C%2522%2BOR%2Btype%253A%255C%2522AMENDMENT%255C%2522%2529%2522%255D%257D">amendment to another bill</a> this week, a marked improvement <a href="https://www.eff.org/deeplinks/2018/03/music-modernization-act-good-solution-songwriters-dont-combine-it-bad-copyright">over the version passed by the House of Representatives</a> earlier in the year. This version contains a new compromise amendment that could preserve early sound recordings and increase public access to them.<br /><br />Until recently, the MMA (formerly known as the CLASSICS Act) was looking like the major record labels’ <a href="https://www.eff.org/deeplinks/2018/07/classics-future-assaults-against-public-domain">latest grab for perpetual control over twentieth-century culture</a>. The House of Representatives passed a bill that would have given the major labels—the copyright holders for most recorded music before 1972—broad new rights in those recordings, ones lasting all the way until 2067. Copyright in these pre-1972 recordings, already set to last far longer than even the grossly extended copyright terms that apply to other creative works, would a) grow to include a new right to control public performances like digital streaming; b) be backed by copyright’s draconian penalty regime; and c) be without many of the user protections and limitations that apply to other works.<br /><br />Second, the public found a champion in Senator Ron Wyden, who proposed a better alternative in the <a href="https://www.congress.gov/bill/115th-congress/senate-bill/2933">ACCESS to Recordings Act</a>. Instead of layering bits of federal copyright law on top of the patchwork of state laws that govern pre-1972 recordings, ACCESS would have brought these recordings completely under federal law, with all of the rights and limitations that apply to other creative works. While that still would have brought them under the long-lasting and otherwise deeply-flawed copyright system we have, at least there would be consistency. Two things changed the narrative. First, a broad swath of affected groups spoke up and demanded to be heard. Tireless efforts by library groups, music libraries, archives, copyright scholars, entrepreneurs, and music fans made sure that the problems with MMA were made known, even after it sailed to near-unanimous passage in the House. <a href="https://www.eff.org/deeplinks/2018/07/classics-future-assaults-against-public-domain">You contacted your Senators</a> to let them know the House bill was unacceptable to you, and that made a big difference.<br /> <br />Weeks of negotiation led to this week’s compromise. The new “Classics Protection and Access Act” section of MMA clears away most of the varied and uncertain state laws governing pre-1972 recordings, and in their place applies nearly all of the federal copyright law. Copyright holders—again, mainly record labels—gain a new digital performance right equivalent to the one that already applies to recent recordings streamed over the Internet or satellite radio. But older recordings will also get the full set of public rights and protections that apply to other creative work. Fair use, the first sale doctrine, and protections for libraries and educators will apply explicitly. That’s important, because many state copyright laws—California’s, for example—don’t contain explicit fair use or first sale defences.<br /><br />The new bill also brings older recordings into the public domain sooner. Recordings made before 1923 will exit from all copyright protection after a 3-year grace period. Recordings made from 1923 to 1956 will enter the public domain over the next several decades. And recordings from 1957 onward will continue under copyright until 2067, as before. These terms are still ridiculously long—up to 110 years from first publication, which is longer than any other U.S. copyright. But our musical heritage will leave the exclusive control of the major record labels sooner than it would have otherwise.<br /><br />The bill also contains an “<a href="https://www.eff.org/deeplinks/2013/02/orphan-works-problem-time-fix-it">orphan works</a>”-style provision that could allow for more use of old recordings even if the rightsholder can’t be found. By filing a notice with the copyright office, anyone can use a pre-1972 recording for non-commercial purposes, after checking first to make sure the recording isn’t in commercial use. The rightsholder then has 90 days to object. And if they do, the potential user can still argue that their use is fair. This provision will be an important test case for solving the broader orphan works problem.<br /><br />The MMA still has many problems. With the compromise, the bill becomes even more complex, extending to 186 pages. And fundamentally, Congress should not be adding new rights in works created decades ago. Copyright law is about building incentives for new creativity, enriching the public. Adding new rights to old recordings doesn’t create any incentives for new creativity. And copyrights as a whole, including sound recording copyrights, still last for far too long.<br /><br />Still, this compromise gives us reason for hope. Music fans, non-commercial users, and the broader public have a voice—a voice that was heard—in shaping copyright law as long as legislators will listen and act.</span><br /> Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-37830777762235576622018-11-01T14:07:00.000+11:002018-11-01T14:07:14.884+11:00Here’s How China’s ‘Social Credit Score’ Punish And Reward Citizens, And It’s Terrifying<header class="post-header clearfix" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; box-sizing: content-box; margin: 0px; outline: 0px; padding: 0px; position: relative; vertical-align: baseline;"><h1 class="post-title" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; box-sizing: content-box; line-height: 1.2; margin: 0px; outline: 0px; overflow-wrap: break-word; padding: 0.875em 0.781em 0.125em; vertical-align: baseline;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">By <a href="https://www.boredpanda.com/author/josh_25/" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: content-box; color: #d74b1f; display: inline-block; font-weight: 400; margin: 0px 0px 0px 3px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" title="Josh Reynolds">Josh Reynolds</a></span></h1>
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<br /><span style="font-family: Arial, Helvetica, sans-serif;">George Orwell’s 1984, Black Mirror S03E01, Psycho Pass, The Orville and many others have all theorised how technology can make our lives better… or worse.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The future is now.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">More info: <a href="https://imgur.com/gallery/Gp1uuQk" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: content-box; color: #d74b1f; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">imgur.com</a></span></div>
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background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border-radius: 0px; border: 0px; box-sizing: content-box; display: block; height: auto; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 700.012px;" width="700" /><img alt="seen-black-mirror-lets-talk-about-the-sesame-score-42" class="alignnone size-full wp-image-1444579" height="575" src="https://static.boredpanda.com/blog/wp-content/uploads/2018/09/seen-black-mirror-lets-talk-about-the-sesame-score-42.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border-radius: 0px; border: 0px; box-sizing: content-box; display: block; height: auto; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 700.012px;" width="700" /><img alt="seen-black-mirror-lets-talk-about-the-sesame-score-43" class="alignnone size-full wp-image-1444581" height="591" src="https://static.boredpanda.com/blog/wp-content/uploads/2018/09/seen-black-mirror-lets-talk-about-the-sesame-score-43.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border-radius: 0px; border: 0px; box-sizing: content-box; display: block; height: auto; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: baseline; width: 700.012px;" width="700" /></div>
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Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-78225458665480012202018-11-01T12:50:00.000+11:002018-11-01T14:23:22.366+11:00Manipulative And Distracting Ads Are Ruining Kids Apps, Researchers Say<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">Prompted by an alarming new study, advocacy groups want the feds to investigate how apps target preschoolers.</span><br />
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<img alt="Headshot of Virginia Hughes" class="news-byline-full__image" src="https://img.buzzfeed.com/buzzfeed-static/static/2018-07/26/23/user_images/buzzfeed-prod-web-05/virginiahughes-v2-27958-1532661376-11_large.jpg" style="border-radius: 50%; border-style: none; box-sizing: inherit; height: 50px; margin-right: 0.5rem; max-width: 100%; width: 50px;" /><br />
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<a class="link-initial--text-black link-hover--text-gray link-hover--underline-gray" href="https://www.buzzfeednews.com/author/virginiahughes" style="box-sizing: inherit; color: #222222; text-decoration-line: none;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Virginia Hughes</span></a></h4>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">BuzzFeed News Reporter</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Last updated on October 30, 2018, at 8:00 a.m. ET</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Posted on October 30, 2018, at 12:02 a.m. ET</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Popular apps for young kids, especially those available in Google’s app store, are teeming with advertisements that distract them from play, manipulate them to make purchases, and extract their personal data.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That’s the conclusion of a new <a href="https://journals.lww.com/jrnldbp/Abstract/publishahead/Advertising_in_Young_Children_s_Apps___A_Content.99257.aspx" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">study</a> that’s prompted a slew of child advocacy groups to ask the US federal government to investigate these products. The groups argue that many apps violate the Federal Trade Commission Act by disguising ads, programming characters to lure kids into purchases, or misleading parents into thinking the games are educational.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“What we’re hoping is that the FTC will fine the app developers and fine them enough that it sends a clear message to the preschool app industry,” Josh Golin, executive director of the Campaign for a Commercial-Free Childhood, told BuzzFeed News. His group and 21 others signed a <a href="https://www.commercialfreechildhood.org/sites/default/files/devel-generate/piw/apps_FTC_letter.pdf" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">letter</a> sent to the FTC today outlining their concerns, based largely on the new study’s findings.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On TV, ads aimed at kids must follow <a href="https://www.gpo.gov/fdsys/pkg/STATUTE-104/pdf/STATUTE-104-Pg996.pdf" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">certain rules</a>. Product placement isn’t allowed, for example, and neither is “host selling,” when a character encourages kids to buy something. But those rules, set by the Federal Communications Commission, don’t apply to the internet. “The FCC wouldn’t touch this,” Golin said. “We have this regulatory vacuum.”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The new study looked at <a href="https://www.documentcloud.org/documents/5024074-List-of-Apps.html" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">135 kids apps</a>, a mix of paid and free, iOS and Android, including 96 of the most frequently downloaded in the “Ages 5 and Under” <a href="https://play.google.com/store/apps/category/FAMILY?age=AGE_RANGE1" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">category</a> of the Google Play Store. About one-third were labelled “educational.” Most of the free apps had been downloaded more than 5 million times each, and the paid ones more than 50,000 times.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Almost all — 88% of paid apps and 100% of free ones — contained at least one type of advertising, the study found, such as pop-up ads, banner ads, in-app purchases, and commercial characters.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Banner ads sometimes showed content that’s inappropriate for kids, the researchers said, such as a Health Living Today ad for “10 Bipolar Facts to Learn: Search Treatments.” Other ads were for apps like Pocket Politics, a game that shows a cartoon of President Trump wanting to press a “nukes” button, and FastLand, a car shooting game. Both of these app ads played a demonstration video before they could be closed.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For Golin, one of the most disturbing examples was Doctor Kids, which shows a character crying if you don’t click on an in-app purchase. “Children form real attachments to these characters,” he said. “For a kid, that’s a pretty powerful thing to express, when a character is crying.” (Doctor Kids’ maker, Bubadu, did not respond to a request for comment.)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nine of the kids' apps contained what the researchers call “camouflaged” ads, which are made to look like part of the game but bring up a video ad when clicked. On the My Talking Tom app, for example — which has had <a href="https://play.google.com/store/apps/details?id=com.outfit7.mytalkingtomfree" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">more than 500 million installs</a>, according to Google Play — kids will see a present drop down from the ceiling. If they tap on it, they’ll be prompted to “watch videos and win.” (The maker of My Talking Tom, Outfit7, did not respond to a request for comment.)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In Builder Game, which has more than 10 million installs on Google Play, thought bubbles pop up over characters telling the child what to do. Sometimes, the study found, the bubbles led to games that could only be played after watching an ad. (Builder Game’s creator, also Bubadu, did not respond to a request for comment.)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The leader of the new study, pediatrician Jenny Radesky of the University of Michigan, remembers one morning last winter when she observed her then 8-year-old son playing an app called Masha and the Bear Vet Clinic, in which he tried to help remove thorns from a sick wolf. After watching an ad video, the game gave him a tweezer that made it easier to get the thorns out and accumulate candy rewards.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“I asked him, ‘Why are you willing to watch an ad video just to do that?’ He said, ‘I get candy,’” Radesky told BuzzFeed News. (The owner of Masha and the Bear, Animaccord, did not respond to a request for comment.)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Her son is like most kids his age or younger, she said, who don’t have the critical thinking skills to understand the “persuasive intent” of an advertisement — that the apps want you to watch the ads because they financially benefit. “That sort of stuff was really hard for him to understand.”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Past studies have shown that even brief exposures to ads embedded in cartoons and other media can influence children's brand preferences, noted Tom Robinson, professor of pediatrics at Stanford University. It's "disheartening," he said, "that so many app makers are willing to use such insidious methods that so obviously take advantage of children’s vulnerabilities."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Most of the public furore over screen time, both in academic studies and the popular press, has focused on the amount of time that kids use apps, with kids under 5 averaging about one hour per day with mobile devices. But researchers are beginning to recognize that what kids are seeing and doing with technology is just as, if not more important than how long they’re doing it. (Radesky, for example, is not anti-app: For patients who struggle with temper tantrums, she recommends watching Daniel Tiger’s Neighborhood apps, which she says can “teach both parent and child what to do in a moment of stress.”)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In 2016, Radesky helped write the latest American Academy of Pediatrics <a href="http://pediatrics.aappublications.org/content/138/5/e20162591" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">guidelines</a> for kids and screens. Although the guidelines were <a href="https://www.statnews.com/2016/10/21/screen-time-guidelines/" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">less restrictive</a> than the previous version, when it came to the subject of advertisements they drew a hard line, saying that advertisements in kids apps should be eliminated. “It’s not ethical because they don’t understand it. They’re just going to click on it,” Radesky said.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Another big concern of kids apps is data privacy. Although the <a href="https://www.ftc.gov/enforcement/rules/rulemaking-regulatory-reform-proceedings/childrens-online-privacy-protection-rule" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">Children’s Online Privacy Protection Act</a> (COPPA) limits how much personal information can be collected and tracked from kids under 13, thousands of apps distributed by Google may <a href="https://www.washingtonpost.com/news/the-switch/wp/2018/04/16/thousands-of-android-apps-may-be-illegally-tracking-children-study-finds/?utm_term=.2234836cf3b8" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">violate the rule</a>, according to a report published earlier this year. Six apps analyzed in the new study requested users’ location information, a potential violation of COPPA.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“It’s a race to the bottom right now with a lot of these preschool apps,” Golin said. “Their whole goal is to get higher in the Google Play Store ranking.”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Platforms like Google and Apple have a gatekeeping role to play, he and Radesky agreed. Apple, for instance, <a href="https://developer.apple.com/app-store/review/guidelines/" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">doesn’t allow</a> apps to be listed in the “Kids” category of its iOS App Store if they have in-app purchases (unless they are behind a parental gate), or if they serve ads based on the user’s activity (although they can still serve ads).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Perhaps it’s not surprising that Apple, which built a business around fancy devices and curated services, would have app rules that could hurt its advertising revenue. Google, on the other hand, is in the ad business.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In an emailed statement, a Google spokesperson said that Google Play apps primarily directed at children must participate in its <a href="https://developer.android.com/google-play/guides/families/" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">“Designed for Families”</a> program. They must adhere to COPPA rules and certain ad and content <a href="https://play.google.com/about/families/designed-for-families/ads-and-monetization/" style="box-sizing: inherit; color: #222222; text-decoration-color: rgb(34, 34, 34); text-decoration-style: solid;" target="_blank">restrictions</a>. “Additionally, Google Play discloses whether an app has advertising or in-app purchases, so parents can make informed decisions.” (One of its kid-specific rules, for example, forbids showing ads that could be mistaken for app content — which seems to have been violated by some of the apps flagged in the new study.)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Radesky hopes platforms like Google and Apple will do more. “If they could just put the good stuff up top, that would be awesome.”</span></div>
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Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-65623220572579792462018-09-13T09:39:00.000+10:002018-09-13T09:40:25.774+10:00How Australia’s Proposed Surveillance Laws Will Break The Trust Tech Depends On<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;"><br />In the last few years, we’ve discovered just how much trust - whether we like it or not - we have all been obliged to place in modern technology. Third-party software, of unknown composition and security, runs on everything around us: from the phones we carry around, to the smart devices with microphones and cameras in our homes and offices, to voting machines, to critical infrastructure. The insecurity of much of that technology, and increasingly discomforting motives of the tech giants that control it from afar, has rightly shaken many of us.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">But the latest challenge to our collective security comes not from Facebook or Google or Russian hackers or Cambridge Analytica: it comes from the Australian government. Their new proposed “Access and Assistance” bill would require the operators of all of that technology to comply with broad and secret government orders, free from liability, and hidden from independent oversight. Software could be rewritten to spy on end-users; websites re-engineered to deliver spyware. Our technology would have to serve two masters: their customers, and what a broad array of Australian government departments decides are the “interests of Australia’s national security.” Australia would not be the last to demand these powers: a long line of countries are waiting to demand the same kind of “assistance.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">In fact, Australia is not the first nation to think of granting itself such powers, even in the West. In 2016, the British government took advantage of the country’s political chaos at the time to push through, largely untouched, the first post-Snowden law that expanded not contracted Western domestic spying powers. At the time, EFF warned of its dangers —- particularly orders called “technical capability notices”, which could allow the UK to demand modifications to tech companies’ hardware, software, and services to deliver spyware or place backdoors in secure communications systems. These notices would remain secret from the public.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Last year we predicted that the other members of Five Eyes (the intelligence-sharing coalition of Canada, New Zealand, Australia, the United Kingdom, and the United States) might take the UK law as a template for their own proposals, and that Britain “… will certainly be joined by Australia” in proposing IPA-like powers.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">That’s now happened. This month, in the midst of a similar period of domestic political chaos, the Australian government introduced their proposal for the “Telecommunications and Other Legislation Amendment (Assistance and Access) Bill 2018.” The bill unashamedly lifts its terminology and intent from the British law.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">But if the Australian law has taken elements of the British bill, it has also whittled them into a far sharper tool. The UK bill created a hodge-podge of new powers; Australia’s bill recognizes the key new powers in the IPA and has zeroed in on their key abilities: those of assistance and access.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">If this bill passes, Australia will - like the UK - be able to demand complete assistance in conducting surveillance and planting spyware, from a vast slice of the Internet tech sector and beyond. Rather than having to come up with ways to undermine the increasing security of the Net, Australia can now simply demand that the creators or maintainers of that technology re-engineer it as they ask.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">It’s worth underlining here just how sweeping such a power is. To give one example: our smartphones are a mass of sensors. They have microphones and cameras, GPS locators, fingerprint and facial scanners. The behaviour of those sensors is only loosely tied to what their user interfaces tell us.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Australia seeks to give its law enforcement, border and intelligence services, the power to order the creators and maintainers of those tools to do “acts and things” to protect “the interests of Australia’s national security, the interests of Australia’s foreign relations or the interests of Australia’s national economic well-being”.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">The “acts and things” are largely unspecified - but they include enabling surveillance, hacking into computers, and remotely pulling data from private computers and public networks.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">The range of people who would have to secretly comply with these orders is vast. The orders can be served on any “designated communications provider”, which includes telcos and ISPs, but is also defined to include a “person [who] develops, supplies or updates software used, for use, or likely to be used, in connection with: (a) a listed carriage service; or (b) an electronic service that has one or more end users in Australia”; or a “person [who] manufactures or supplies customer equipment for use, or likely to be used, in Australia”.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Examples of electronic services may “include websites and chat fora, secure messaging applications, hosting services including cloud and web hosting, peer-to-peer sharing platforms and email distribution lists, and others.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">You can see the full list in the draft bill in section 317C, page 16.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">As Mark Nottingham, co-chair of the IETF’s HTTP group and member of the Internet Architecture Board, notes, this seems to include “Everyone who’s ever written an app or hosted a Web site - worldwide, since one Australian user is the trigger - is a potential recipient, whether they’re a multimillion dollar company or a hobbyist.” It includes Debian ftpmasters, and Linux developers; Mozilla or Microsoft; certificate authorities like Let’s Encrypt, or DNS providers.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">This is not an error: when we were critiquing a similarly broad definition in the UK’s IPA, we pointed out that the wording would allow the authorities to target a particular developer at a company (while requiring them to not inform their boss), or non-technical bystander who would not know the impact of what they were being asked to do. Commentators from close to GCHQ denied this would be the case and said that this would be clarified in later documents - but subsequent draft codes of practice actually doubled down on the breadth of the orders, saying that it was deliberately broad, and that even café owners who operated a wifi hotspot could be served with an order.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">There are some signs that the companies affected by these orders have learned the lesson of the IPA, and pushed back during the Assistance and Access’s preliminary stages. Unlike the UK bill, there are clauses forbidding Australia from being required to “implement or build [a] systemic weakness or systemic vulnerability into a form of electronic protection” (S.317ZG); and preventing actions in some cases that would cause material loss to others lawfully using a targeted computer (e.g. S.199 (3), pg 163. Companies have an opportunity to be paid for their troubles, and billing departments can’t be targeted. There is some attempt to prevent government agencies forcing providers to “make false or misleading statements or engage in dishonest conduct”(S.317E).<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">But these are tiny exceptions in a sea of permissions, and easily circumvented. You may not have to make false statements, but if you “disclose information”, the penalty is five years’ imprisonment (S.317ZF). What is a “systemic weakness” is determined entirely by the government. There is no independent judicial oversight. Even counselling an ISP or telco to not comply with an assistance or capability order is a civil offence.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">If the passage of the UK surveillance law is any guide, Australian officials will insist that while the language is broad, no harm is intended, and the more reasonable, narrower interpretations were meant. But none of those protestations will result in amendments to the law: because Australia, like Britain, wants the luxury of broad, and secret powers. There will be - and can be no true oversight - and the kind of malpractice we have seen in the surveillance programs of the U.S. and U.K. intelligence services will spread to Australia’s law enforcement. Trust and security in the Australian corner of the Internet will diminish - and other countries will follow the lead of the anglophone nations in demanding full and secret control over the technology, the personal data, and the individual innovators of the Internet.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">“The government,” says Australia’s Department of Home Affairs web site, “welcomes your feedback” on the bill. Comments are due by September 10th. If you are affected by this law - and you almost certainly are - you should read the bill, and write to the Australian government to rethink this disastrous proposal. We need more trust and security in the future of the Internet, not less. This is a bill that will breed digital distrust, and undermine the security of us all.<o:p></o:p></span></div>
Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-6155585330229743402018-08-22T07:40:00.000+10:002018-08-22T07:40:44.937+10:0023 Great Examples of the ‘Middle Line’ in Art, Photography and Film<span style="background-color: white; color: #222222; font-family: "Open Sans", Helvetica, Arial, sans-serif; font-size: 15.84px;">The ‘middle line’ can be a powerful tool in composition. Here are 23 great examples in art, photography and film.</span><br />
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<span style="background-color: white;"><span style="color: #222222; font-family: Open Sans, Helvetica, Arial, sans-serif;"><span style="font-size: 15.84px;">Via </span></span><a href="https://twistedsifter.com/videos/the-power-of-the-middle-line-in-art-photography-and-film/" style="color: #222222; font-family: "Open Sans", Helvetica, Arial, sans-serif; font-size: 15.84px;" target="_blank">Twisted Sifter</a><br /><br /><span style="color: #222222; font-family: Open Sans, Helvetica, Arial, sans-serif;"><span style="font-size: 15.84px;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="450" src="https://www.youtube.com/embed/sUFCQeSPVPw?ecver=1" width="800"></iframe></span></span></span>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-35569523160503825682018-08-17T12:26:00.000+10:002018-08-17T12:26:19.002+10:00How to create a contact sheet<div style="background-color: white; border: 0px; box-sizing: border-box; color: #666666; font-family: adobe-clean, HelveticaNeue-light, "Helvetica Neue", Helvetica, Arial, sans-serif; line-height: 32px; margin: 20px 0px; outline: 0px; padding: 0px;">
Proof multiple images on a single page. Simply select a folder that contains the images from your latest creative project.</div>
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<img alt="contact-sheet-1408x792" class="cq-dd-image" height="359" src="https://helpx.adobe.com/content/dam/help/en/photoshop/how-to/contact-sheet-1408x792.jpg" style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; max-width: 100%; outline: 0px; padding: 0px;" title="contact-sheet-1408x792" width="640" /></div>
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Put all of the images you want on the contact sheet in <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">one folder</span> on your computer.</div>
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In Photoshop, go to <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">File > Automate > Contact Sheet II</span>.</div>
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In the <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">Source Images</span> section of the Contact Sheet II dialogue box, choose the folder that contains your images.</div>
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<span style="font-family: inherit;"><span style="border-color: initial; border-image: initial; border-style: initial; font-style: inherit; font-weight: inherit; outline-color: initial; outline-style: initial;"><a href="https://www.blogger.com/u/1/null" name="main-pars_text2" style="border: 0px; box-sizing: border-box; color: #1473e6; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;"></a></span></span><div class="text" style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">
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Under <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">Document</span>, set the Units, Width/Height, Resolution, and Mode (colour mode) for the contact sheet.</div>
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If desired, select the <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">Flatten All Layers</span> option.</div>
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Under <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">Thumbnails</span>, decide how you want your images arranged on the page.</div>
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Select the <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">Use Filename as Caption</span> option to label each image based on its file name.</div>
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<img alt="create-contact-sheets-figure-7" class="cq-dd-image" src="https://helpx.adobe.com/content/dam/help/en/photoshop/how-to/create-contact-sheets/_jcr_content/main-pars/image5/create-contact-sheets-figure-7.jpg" style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; max-width: 100%; outline: 0px; padding: 0px;" title="create-contact-sheets-figure-7" /></div>
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<span style="font-family: inherit;"><span style="border-color: initial; border-image: initial; border-style: initial; font-style: inherit; font-weight: inherit; outline-color: initial; outline-style: initial;"><a href="https://www.blogger.com/u/1/null" name="main-pars_text6" style="border: 0px; box-sizing: border-box; color: #1473e6; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;"></a></span></span><div class="text" style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">
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Click <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">OK</span> and Photoshop will create your contact sheet. You can save or print it from the <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">File</span> menu.</div>
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<img alt="create-contact-sheets-figure-8" class="cq-dd-image" src="https://helpx.adobe.com/content/dam/help/en/photoshop/how-to/create-contact-sheets/_jcr_content/main-pars/image6/create-contact-sheets-figure-8.jpg" style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; max-width: 100%; outline: 0px; padding: 0px;" title="create-contact-sheets-figure-8" /></div>
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<span class="publish-date" style="border: 0px; box-sizing: border-box; display: inline-block; font-style: inherit; line-height: 30px; margin: 0px; outline: 0px; padding: 0px;">October 6, 2014</span></div>
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Contributor: Erica Larson</div>
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</section>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-20160284051830831262018-06-08T09:26:00.000+10:002018-08-17T08:39:04.624+10:0060 Free Film Noir Movies<div class="MsoNormal" style="background: white; line-height: 25.2pt; margin-bottom: .0001pt; margin-bottom: 0cm; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="color: #373731; font-family: "arial" , sans-serif;">From <a href="http://www.openculture.com/free_film_noir_movies" target="_blank">OpenCulture</a></span></div>
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<img alt="noir film pic" src="http://cdn8.openculture.com/wp-content/uploads/2014/08/08154654/noir-film-pic.jpg" height="320" width="640" /></div>
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<span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">During the 1940s and 50s, Hollywood entered a “noir” period, producing riveting films based on hard-boiled fiction. These films were set in dark locations and shot in a black & white aesthetic that fit like a glove. Hardened men wore fedoras and forever smoked cigarettes. Women played the femme fatale role brilliantly. Love was the surest way to death. All of these elements figured into what Roger Ebert calls “the most American film genre” in his short <a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19950130/COMMENTARY/11010314/1023"><span style="color: #0183b2;">Guide to Film Noir</span></a>. In this growing list, we gather together the noir films available online. They all appear in our big collection <a href="http://www.openculture.com/freemoviesonline"><span style="color: #0183b2;">1,150 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.</span></a>. You might also enjoy perusing our list of 20+ <a href="http://www.openculture.com/free_hitchcock_movies_online"><span style="color: #0183b2;">Free Hitchcock Films</span></a>.</span></div>
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<span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">
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<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">A Life at Stake</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=Lsc9OlFzyzo"><span style="color: #0183b2;">Free</span></a> - Directed by Paul Guilfoyle, this American noir film stars Angela Lansbury and Keith Andes. (1954)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Beat the Devil </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">– <a href="http://www.openculture.com/2014/02/beat-the-devil.html"><span style="color: #0183b2;">Free</span></a> – Directed by John Huston and starring Humphrey Bogart, the film is something of a comic and dramatic spoof of the film noir tradition. (1953)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Behind Green Lights - </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"><a href="http://www.archive.org/details/BehindGreenLights_high_Q_mp4"><span style="color: #0183b2;">Free</span></a> - Stars Carole Landis, John Ireland. Police lieutenant Sam Carson investigates a political murder after the victim is dumped at the door of police headquarters. (1946)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Big Bluff </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/big_bluff"><span style="color: #0183b2;">Free</span></a> - Directed by W. Lee Wilder. When a scheming fortune hunter finds his rich wife is not going to die as expected, he and his lover make other plans to get her millions. (1950)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Blonde Ice -</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> <a href="http://archive.org/details/BlondeIce1948"><span style="color: #0183b2;">Free</span></a> - A society reporter keeps herself in the headlines by marrying a series of wealthy men. They all die mysteriously afterwards though. (1948)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Borderline</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=i12seZ6KlhE"><span style="color: #0183b2;">Free</span></a> - Fred MacMurray and Claire Trevor are caught in Mexican dope-smuggling ring, fearing each other is involved, but both undercover agents. <a href="https://archive.org/details/Borderline1950_431"><span style="color: #0183b2;">Alternate version</span></a>. (1950)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Cause for Alarm!</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=t_bNDDM5ABQ"><span style="color: #0183b2;">Free</span></a> - Ellen (Loretta Young) narrates the tale of "the most terrifying day of my life", how she was taking care of her bedridden husband George Z. Jones (Barry Sullivan) when he suddenly dropped dead. (1951)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Club Paradise</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/club_paradise"><span style="color: #0183b2;">Free</span></a> - The film, also known as <i>Sensation Hunters, </i>was directed by Christy Cabanne. The story: a touching story of girl who like many others makes the wrong choice in life – and pays for it. (1945)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Convict's Code</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/convicts_code"><span style="color: #0183b2;">Free</span></a> - An ex-con is employed by the man who framed him for bank robbery. Directed by Lambert Hillyer. Starring Robert Kent and Anne Nage. (1939)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Dementia</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/DementiaDaughterOfHorror1955"><span style="color: #0183b2;">Free</span></a> - Also called <i>Daughter of Horror</i>, this film by John Parker incorporated elements of horror film, film noir and expressionist film. About the film, Cahiers du cinema wrote "To what degree this film is a work of art, we are not certain but, in any case, it is strong stuff." (1955)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Detour </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.openculture.com/2012/03/idetouri_the_cheap_rushed_piece_of_1940s_film_noir_nobody_ever_forgets.html"><span style="color: #0183b2;">Free</span></a> - Edgar Ulmer’s cult classic noir film shot in 6 days. (1945)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">D.O.A.</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.openculture.com/2013/05/doa_by_rudolph_mate_1950.html"><span style="color: #0183b2;">Free</span></a> - Rudolph Maté's classic noir film. Called “one of the most accomplished, innovative, and downright twisted entrants to the film noir genre.” You can also watch the movie <a href="http://www.filmannex.com/movie/film/262/D.O.A"><span style="color: #0183b2;">here</span></a>. (1950)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Fear in the Night</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/Fear_in_the_Night"><span style="color: #0183b2;">Free</span></a> - Low budget noir film directed by Maxwell Shane & starring Paul Kelly and DeForest Kelley. It is based on the Cornell Woolrich story "And So to Death". (1947)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Five Minutes to Live</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.openculture.com/2013/02/see_johnny_cash_as_a_menacing_musical_gangster_in_1961_film_ifive_minutes_to_livei.html"><span style="color: #0183b2;">Free</span></a> - Amazing bank heist movie stars Johnny Cash, Vic Tayback, Ron Howard, and country music great, Merle Travis. (1961)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Guest in the House - </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"><a href="http://www.archive.org/details/GuestInTheHouse1944"><span style="color: #0183b2;">Free</span></a> - Directed by John Brahm, the noir film stars Anne Baxter, Ralph Bellamy, Aline MacMahon. (1946)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">He Walked by Night</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> – <a href="https://www.youtube.com/watch?v=8rBZ7Hoaf5o"><span style="color: #0183b2;">Free</span></a> – Film-noir drama, told in semi-documentary style, follows police on the hunt for a resourceful criminal. This move became the basis for "Dragnet," and stars Jack Webb. Archive.org version <a href="http://archive.org/details/He_Walked_by_Night_1948"><span style="color: #0183b2;">here</span></a>. (1948)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Impact</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.archive.org/details/impact"><span style="color: #0183b2;">Free</span></a> - Arthur Lubin’s well reviewed noir flic. Considered a little known classic you need to watch. (1940)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Inner Sanctum</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/Inner_Sanctum_movie"><span style="color: #0183b2;">Free</span></a> - A gripping noir film about "a murderer who is on the lam and hiding out in a small town. Unbeknownst to him, he is not only hiding in the same boarding house as the only witness to his crime, he is sharing the same room." (1948)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Jigsaw </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="https://www.youtube.com/watch?v=5jZolxW3eqU"><span style="color: #0183b2;">Free</span></a> - Directed by Fletcher Markle, and starring Franchot Tone, Jean Wallace and Marc Lawrence, the film features cameo appearances by Marlene Dietrich and Henry Fonda. (1949)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Johnny O'Clock</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=gb2FC1sudHU"><span style="color: #0183b2;">Free</span></a> - Directed by Robert Rossen, based on a story by Milton Holmes. The drama features Dick Powell, Evelyn Keyes, and Lee J. Cobb, with Jeff Chandler making his film debut in a small role. (1947)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Kansas City Confidential</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> – <a href="http://www.openculture.com/2013/02/kansas_city_confidential.html"><span style="color: #0183b2;">Free</span></a> – A film noir gem that inspired Quentin Tarantino’s <i>“Reservoir Dogs.” </i>(1953)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Key Lime Pie</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.openculture.com/2010/09/animated_noir_key_lime_pie.html"><span style="color: #0183b2;">Free</span></a> – A zany animated film in the noir tradition. (2007)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Lady Gangster</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/Lady.Gangster"><span style="color: #0183b2;">Free</span></a> - Warner Bros. B picture directed by Robert Florey based on the play Gangstress, or Women in Prison, by Dorothy Mackaye, Stars: Faye Emerson, Julie Bishop, Frank Wilcox, Roland Drew, and Jackie C. Gleason. (1942)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Man in the Attic</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/Man_in_the_Attic_movie"><span style="color: #0183b2;">Free</span></a> - Jack Palance as Jack the Ripper! (1954)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Parole, Inc.</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/parole_inc"><span style="color: #0183b2;">Free</span></a> - Parole officers fight against gangsters trying to infiltrate the parole system. (1948)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Please Murder Me</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> – <a href="http://www.archive.org/details/Please_Murder_Me_movie"><span style="color: #0183b2;">Free</span></a> – Lawyer Raymond Burr brilliantly defends Angela Lansbury in 1950s noir film. (1956)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Port of New York </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="https://www.youtube.com/watch?v=vdUIfzlsr-s"><span style="color: #0183b2;">Free</span></a> - Two narcotics agents go after a gang of murderous drug dealers who use ships docking at the New York harbor to smuggle in their contraband. First film in which Yul Brynner appeared. (1949)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Quicksand </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/Quicksand_clear"><span style="color: #0183b2;">Free</span></a> - Peter Lorre and Mickey Rooney star in a story about a garage mechanic's descent into crime. (1950)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Scarlet Street</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.openculture.com/2012/10/fritz_langs_licentious_profane_obscure_noir_film_iscarlet_streeti_1945.html"><span style="color: #0183b2;">Free</span></a> - Directed by Fritz Lang with Edward G. Robinson. A film noir great. (1945)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Shock </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="https://www.youtube.com/watch?v=2ON346UXYXc"><span style="color: #0183b2;">Free</span></a> –This film noir tells the story of psychiatrist Dr. Cross (Vincent Price), who is treating Janet Stewart (Anabel Shaw), a young woman who is in a catatonic state. The coma was brought on when she heard loud arguing, went to her window, and saw a man strike his wife with a candlestick and kill her. Alternate version <a href="http://www.archive.org/details/shock"><span style="color: #0183b2;">found here</span></a>. (1946)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Shoot to Kill</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/Shoot_to_Kill"><span style="color: #0183b2;">Free</span></a> - Gangster framed by crooked DA. Wife and newspaper reporter team up. (1947)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Strange Illusion</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/Strange_Illusion"><span style="color: #0183b2;">Free</span></a> - B-movie update of “Hamlet” has troubled teen Jimmy Lydon doubting smooth-talker Warren Williams who is wooing his mother. (1945)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Suddenly</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.openculture.com/2012/11/frank_sinatra_stars_in_1954_noir_suddenly.html"><span style="color: #0183b2;">Free</span></a> - <a href="http://www.amazon.com/gp/product/B001F8M80G?ie=UTF8&tag=openculture-20&linkCode=xm2&camp=1789&creativeASIN=B001F8M80G"><span style="color: #0183b2;">Buy DVD</span></a> - Noir film with Frank Sinatra and James Gleason. The story line influenced <i>The Manchurian Candidate</i>, which again starred Sinatra. (1954)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Amazing Mr. X </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="https://www.youtube.com/watch?v=iwyjnH7rOmg"><span style="color: #0183b2;">Free</span></a> - Noir film directed by Bernard Vorhaus with cinematography by John Alton. The film tells the story of a phony spiritualist racket. (1948).<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Basketball Fix</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/TheBasketballFix1951"><span style="color: #0183b2;">Free</span></a> - A college basketball star collaborates with organized crime and becomes involved in 'point shaving.' A sportswriter tries to get him back on the right track. (1951)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Big Combo </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/TheBigComboCornellWilde1955BOO"><span style="color: #0183b2;">Free</span></a> - Directed by Joseph Lewis, this film is today considered a noir classic. Critics like to focus on cinematography of John Alton, a noir icon. (1955)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Capture</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/The_Capture_movie"><span style="color: #0183b2;">Free</span></a> -</span><span style="font-family: "arial" , sans-serif; font-size: 12pt;"> </span><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Lew Ayres is an oil man who guns down a thief who may have been innocent. (1950)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Chase</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.youtube.com/watch?v=y9T0mEtpeqQ"><span style="color: #0183b2;">Free</span></a> - An American noir film directed by Arthur Ripley, based on the Cornell Woolrich novel <a href="http://amzn.to/2sIvbpW"><i><span style="color: #0183b2; text-decoration-line: none;">The Black Path of Fear</span></i></a>.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The File on Thelma Jordan </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://archive.org/details/TheFileonThelmaJordanBarbaraStanwyck1950ripHJXvid2"><span style="color: #0183b2;">Free</span></a> - This noir directed by Robert Siodmak features Barbara Stanwyck and Wendell Corey. At the time Variety said, "Thelma Jordon unfolds as an interesting, femme-slanted melodrama, told with a lot of restrained excitement." (1950)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Great Flamarion</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=s9M_cMJz6pM"><span style="color: #0183b2;">Free</span></a> - Vaudeville star Erich von Stroheim entangled with married assistant. Directed by Anthony Mann. (1945)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Green Glove </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/the_green_glove"><span style="color: #0183b2;">Free</span></a> - A World War II veteran in France, played by Glen Ford, gets mixed up in murder while investigating a stolen treasure. Directed by Rudolph Maté. Alternate version on YouTube <a href="https://www.youtube.com/watch?v=AAfml8lKMec"><span style="color: #0183b2;">available here</span></a>. (1952)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Hitch-Hiker </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.openculture.com/2012/03/female_noir_director_ida_lupinos_ithe_hitch-hikeri_free_online.html"><span style="color: #0183b2;">Free</span></a> - <a href="http://www.amazon.com/gp/product/B001IMJWYO?ie=UTF8&tag=openculture-20&linkCode=xm2&camp=1789&creativeASIN=B001IMJWYO"><span style="color: #0183b2;">Buy DVD</span></a> - The first noir film made by a woman noir director, Ida Lupino. (1953)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Hoodlum</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/The_Hoodlum"><span style="color: #0183b2;">Free</span></a> - Lawrence Tierney ("Reservoir Dogs") plays an unreformed, hardened criminal who has just been released from prison. While working at his brother's gas station, he becomes very interested in the armored car that makes regular stops at the bank across the street. (1951)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Limping Man </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/TheLimpingMan"><span style="color: #0183b2;">Free</span></a> - Stars Lloyd Bridges and Moira Lister. A WWII veteran goes back to England after the war only to discover that his wartime sweetheart has got mixed up with a dangerous spy ring. (1953)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Man Who Cheated Himself</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.archive.org/details/Man_Who_Cheated_Himself"><span style="color: #0183b2;">Free</span></a> - Some call it "an under-appreciated and little known gem." Stars Lee J. Cobb, John Dall, Jane Wyatt, and Lisa Howard. YouTube version <a href="https://www.youtube.com/watch?v=bZXsoLg88-o"><span style="color: #0183b2;">here</span></a>. (1951)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Naked Kiss </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="https://archive.org/details/TheNakedKiss"><span style="color: #0183b2;">Free</span></a> - Constance Towers is a prostitute trying to start a new life in a small town. Directed by Sam Fuller. (1964)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Payoff</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=1dbZ7Ae5GVE"><span style="color: #0183b2;">Free</span></a> - Directed by Robert Florey. James Dunn (known for his role in <a href="http://en.wikipedia.org/wiki/A_Tree_Grows_in_Brooklyn_(film)" title="A Tree Grows in Brooklyn (film)"><span style="color: #0183b2;">A Tree Grows in Brooklyn</span></a>) plays a newspaper reporter promoted to the sports desk, but saddled with a wife whose spending habits drive her into a relationship with a blackmailing racketeer. (1935)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Red House</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/TheRedHouse"><span style="color: #0183b2;">Free</span></a> - A noir psychological thriller starring Edward G. Robinson. Here's the gist of the plot: "An old man and his sister are concealing a terrible secret from their adopted teen daughter, concerning a hidden abandon farmhouse, located deep in the woods." (1947)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Saint Louis Bank Robbery</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> – <a href="http://www.archive.org/details/Saint_Louis_Bank_Robbery"><span style="color: #0183b2;">Free</span></a> – Steve McQueen stars in a "gritty, downbeat, and sometimes savage heist movie." (1959)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Scar (aka Hollow Triumph)</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=6d3NvbCqlRo"><span style="color: #0183b2;">Free</span></a> - Just released from prison, John Muller (Paul Henreid) masterminds a holdup at an illegal casino run by Rocky Stansyck. The robbery goes bad, and the mobsters captured some of Muller's men and force them to identify the rest before killing them.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Second Woman - </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"><a href="http://www.archive.org/details/The_Second_Woman_"><span style="color: #0183b2;">Free</span></a> - Directed by James Kern and starring Betsy Drake, this lesser known noir film gets some good reviews. (1951)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Strange Love of Martha Ivers</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> – <a href="http://www.archive.org/details/TheStrangeLoveOfMarthaIvers"><span style="color: #0183b2;">Free</span></a> – Noir film starting Barbara Stanwyck, Van Heflin and Kirk Douglas. Entered into 1947 Cannes Film Festival. (1946)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Strange Woman - </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"><a href="http://www.openculture.com/watch-the-strange-woman-the-1947-noir-film-starring-hedy-lamarr"><span style="color: #0183b2;">Free</span></a> - Edgar G. Ulmer's femme fatale film starring Hedy Lamarr. (1946)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">The Stranger </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.openculture.com/2012/12/watch_orson_welles_ithe_strangeri_free_online_where_1940s_film_noir_meets_real_horrors_of_wwii.html"><span style="color: #0183b2;">Free</span></a> - <a href="http://www.amazon.com/gp/product/B0002K67QE?ie=UTF8&tag=openculture-20&linkCode=xm2&camp=1789&creativeASIN=B0002K67QE"><span style="color: #0183b2;">Buy DVD</span></a> - Directed by Orson Welles with Edward G. Robinson. One of Welles's major commercial successes. (1946)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">They Made Me a Criminal</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=NdHXyyhGKew"><span style="color: #0183b2;">Free</span></a> - Boxer John Garfield flees believing he has committed a murder while he was drunk. Pursued by Claude Rains, he meets up with the Dead End Kids. (1939)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">They Made Me a Killer</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/TheyMadeMeAKiller"><span style="color: #0183b2;">Free</span></a> - A fugitive receives help from a victim's sister (Barbara Britton) as he tries to clear his name of robbery and murder charges. (1946)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Three Steps North</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://www.youtube.com/watch?v=YtOml8axgwA"><span style="color: #0183b2;">Free</span></a> - After a prison sentence an American GI stationed in Italy (Lloyd Bridges) discovers that his hidden loot has disappeared and goes searching for it. Directed by W. Lee Wilder. (1951)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Time Table</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="http://www.youtube.com/watch?v=4Vj_lMvczow"><span style="color: #0183b2;">Free</span></a> - After the theft of $500,000 in a carefully executed train robbery, an insurance investigator (Mark Stevens, who also doubled as director and producer) is forced to cancel a planned vacation with his wife to assist a railroad detective in identifying the culprits and recovering the money. Alternate version <a href="http://archive.org/details/Timetable1956"><span style="color: #0183b2;">here</span></a>. (1956)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-left: 9.6pt; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Too Late for Tears</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> – <a href="http://www.archive.org/details/TooLateForTears"><span style="color: #0183b2;">Free</span></a> – Directed by Byron Haskin and based on a novel by Roy Huggins, <i>Too Late for Tears</i> is pure noir. (1949)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Trapped </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/Trapped_"><span style="color: #0183b2;">Free</span></a> - Starring Lloyd Bridges and Barbara Payton, the plot of this B noir film turns around a counterfeiting ring. (1949)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Walk The Dark Street</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/WalkTheDarkStreet"><span style="color: #0183b2;">Free</span></a> - An Army officer and a hunter engage in a simulated manhunt with one using real bullets in Los Angeles. (1956)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Whispering City</span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;"> - <a href="https://archive.org/details/WhisperingCity"><span style="color: #0183b2;">Free</span></a> - A Canadian noir, directed by Fyodor Otsep, starring Paul Lukas and Mary Anderson. (1947)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Whistle Stop </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/Whistle_Stop"><span style="color: #0183b2;">Free</span></a> - <a href="http://www.amazon.com/gp/product/B0014170W0?ie=UTF8&tag=openculture-20&linkCode=xm2&camp=1789&creativeASIN=B0014170W0"><span style="color: #0183b2;">Buy DVD</span></a> – A noir flic with Ava Gardner. Love triangle leads to murder. (1946)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #414141; font-family: "symbol"; font-size: 10.0pt;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">Woman on the Run </span></b><span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">- <a href="http://www.archive.org/details/Woman_on_the_Run"><span style="color: #0183b2;">Free</span></a> - After Frank Johnson (Ross Elliott) is the sole witness to a gangland murder, he goes into hiding and is trailed by Police Inspector Ferris (Robert Keith), his wife, Eleanor (Ann Sheridan), and newspaperman, Danny Leggett (Dennis O'Keefe). YouTube version <a href="http://www.youtube.com/watch?v=IP17gzfzO5M"><span style="color: #0183b2;">here</span></a>. (1950)<o:p></o:p></span></div>
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<span style="color: #414141; font-family: "arial" , sans-serif; font-size: 12.0pt;">For more free films, please visit our big collection of <a href="http://www.openculture.com/freemoviesonline"><span style="color: #0183b2;">Free Movies Online</span></a>.<o:p></o:p></span></div>
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Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-34910550117416761042018-05-30T09:35:00.001+10:002018-05-30T09:35:54.766+10:00Watch: 100 Filmmaking Tips, Tricks, and Hacks in Under 10 Minutes<span style="font-family: Arial, Helvetica, sans-serif;">Hold on to your hats! Here are 100 tips, tricks, and hacks that you can use on </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">your next project.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In filmmaking, we all need a little help along the way, and sometimes, we need that help to come in tiny bite-size portions that pair well with our short attention spans and ability to get the gist of just about anything within seconds. Well in their latest video, The Film Look unfurls 100 tips, tricks, and hacks for filmmakers like little fortune cookies, giving you a ton of short but oh so sweet advice on how to do a myriad of things from labeling batteries to properly handing off expensive equipment. Gorge yourself below:</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="312" src="https://www.youtube.com/embed/yRSsL20S9Qg" width="555"></iframe></span>
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<span style="font-family: Arial, Helvetica, sans-serif;">Now, that's a lot of fortune cookies! There are tons of great pieces of advice in the video, especially for those who are just starting out. I mean, let's get real; when you're a newbie, you want and need to learn everything about the craft. The Film Look covers all phases of production in their video compendium, from screenwriting to editing, so you're definitely going to learn a little bit of everything.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />And for all of you more experienced folk, maybe most of this stuff was a review for you, but hopefully, you found at least a handful of things in the video that will help you on your next project. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">What about you? What are your top five filmmaking tips, tricks, and hacks that you've learned over the years? Let us know down in the comments below! </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Reblogged via <a href="https://nofilmschool.com/2018/04/watch-100-filmmaking-tips-tricks-and-hacks-under-10-minutes" target="_blank">No Film School</a></span><br />
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Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-58862368153981091102017-09-26T10:03:00.000+10:002017-09-26T10:04:54.402+10:00Understanding the Formatting of a Screenplay (and Why It All Matters)<br />
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<a href="http://nofilmschool.com/u/vrenee"> <span style="font-size: xx-small;">by V Renée </span><span style="font-size: xx-small;"><span class="date-display-single">September 24, 2017 via No Film School</span></span></a></h3>
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<span style="font-size: xx-small;">Most filmmakers know scripts follow a very particular format, but do they know why they do?</span></h5>
Thanks to all of the low-cost/free screenwriting programs that are available nowadays, writers don't have to think too hard about formatting when penning scripts. However, understanding what all of the different formatting components are, like slug lines and action, as well as <i>why </i>they're formatted the way they are is important for making sure that your story is not only organized and clear but that it adheres to industry standards. This video from <a class="external" href="https://www.studiobinder.com/" target="_blank">StudioBinder</a> helps demystify many of the basic formatting rules as well as several obscure ones in screenwriting. Check it out below:<br />
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Again, screenwriting software like Final Draft, Celtx, and WriterDuet make it easy to not concern yourself with script format too much, but it's still important to learn. You may not have to worry about margins, typeface, or indentations, but you'll still need to know how to write action, dialogue, as well as what a slug line is and why the information included in it is so important.<br />
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Because even if you understand everything that's going on in your screenplay when it comes to formatting, there will (hopefully) be other people looking at it that may not. Remember, if your script gets selected to be turned into an actual film, it will need to be turned into a script breakdown sheet. So, if you don't take care being clear and concise with your slug lines, action, and dialogue then the director, DP, and 1st AD will have a hard time doing their job.<br />
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Luckily, screenplay formatting isn't rocket science. It just takes a little effort to wrap your head around several key concepts and elements...and once you do, you're off to the races. <span class="logo-cap"> </span></div>
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</section>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-25920872472825775882017-09-16T12:47:00.000+10:002018-08-22T13:44:41.009+10:00Media laws: Who will buy what and will it make any difference anyway?<a class="btn btn-default btn-sm share-story more" href="http://www.abc.net.au/news/2017-09-15/media-laws-and-mergers-who-will-buy-what/8949000#"> <style> <!-- /* Font Definitions */ @font-face {font-family:Arial; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:-536859905 -1073711037 9 0 511 0;} @font-face {font-family:"Courier New"; panose-1:2 7 3 9 2 2 5 2 4 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:-536859905 -1073711037 9 0 511 0;} @font-face {font-family:Times; panose-1:2 0 5 0 0 0 0 0 0 0; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Wingdings; 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<span style="font-family: "arial"; font-size: 8pt;">Via <a href="http://abc.net.au/news/2017-09-15/australian-media/8949574">abc.net.au/news/2017-09-15/australian-media/8949574</a> By business reporter <a href="http://www.abc.net.au/news/stephen-letts/5639296" title="">Stephen Letts</a> </span><span style="font-family: "arial"; font-size: 8pt;">Updated 16 September 2017</span><br />
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<span style="font-family: "arial"; font-size: 8.0pt;"><a href="http://www.abc.net.au/news/2017-09-15/australian-media/8949574"><b>Photo:</b> The media owners have got their wish, but will the law changes bring back profitability to the industry? (ABC News) </a></span></div>
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<a href="http://www.abc.net.au/news/2017-09-14/media-law-changes-bill-passes-senate/8946864"><b>Related Story:</b> Government's bill to relax media ownership laws passes Senate</a></span></div>
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<span style="font-family: "arial"; font-size: 8.0pt;"><a href="http://www.abc.net.au/news/2017-08-29/channel-ten-cbs-takeover-plot-twist-seven-nine-will-hate/8853182"><b>Related Story:</b> Ten Network no longer the biggest loser as CBS shakes up free-to-air TV</a></span></div>
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<span style="font-family: "arial"; font-size: 8.0pt;"><a href="http://www.abc.net.au/news/2017-05-31/media-law-shake-up-getting-support-from-australian-media-bosses/8574590"><b>Related Story:</b> Media law shake-up getting support from Australian media bosses</a></span></div>
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<span style="font-family: "arial"; font-size: 8.0pt;"><a href="http://www.google.com/maps/place/Australia/@-26.000,134.500,5z"><b>Map: </b>Australia</a> </span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"><br />As the <a href="http://www.abc.net.au/news/2017-09-14/media-law-changes-bill-passes-senate/8946864" title="">new media laws finally clambered over their last obstacle</a>, you could almost hear the high-fives slapping in the boardrooms of the big — although somewhat diminished — media companies.</span></div>
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<b><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />Key points:</span></b></div>
<ul type="disc">
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Fairfax and Nine appears to be the most plausible and powerful merger opportunity</span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">News Corp's main hurdle to any acquisition is likely to be the ACCC</span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Even after merging most businesses would still struggle to grow sales in the face of massive competition from overseas digital giants</span></li>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">The denouement of the drawn-out and fraught process, televised on the Senate channel, had more the torn and frayed look of the Survivor franchise than the smoochy fairytale feel of The Bachelor, which aired around the same time.<br />
<br />So now the rule book has been rewritten, how is the game going to change? And is the promise of mergers and takeovers of struggling media businesses going to create new champions able to protect and expand their turf?<br />
<br />Certainly, the prospect of mergers is real — if for no other reason than: why did the media owners champion the changes in media ownership rules? Will they be successful? That is an entirely different question.</span></div>
<h2>
<span style="font-family: "arial"; font-size: 12.0pt;">What are the new rules?</span></h2>
<span style="font-family: "arial"; font-size: 12.0pt;">It was not so much a rewriting of the Broadcasting Legislation Amendment Bill as just hitting delete on a couple of key provisions that changed things. Out went the "75 per cent audience reach" rule prohibiting a TV network broadcasting to more than 75 per cent of the population. It opens up possibilities for the likes of Seven, Nine, Ten and the regional players Prime, Southern Cross and WIN.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8U5vOeXPFEHeBZgI_MMehyphenhyphenBSWDW5jLynqjTQjs3LTe2NPYh7KokH6OM55X-n6SHinPm5NuRRXD7B-tV_yoBGXlELiuNkdf80v7lGjCMH_A5dpft22UyUggevOH-XiU9ufl-bJCEnSfBGh/s1600/8949450-3x2-700x467.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8U5vOeXPFEHeBZgI_MMehyphenhyphenBSWDW5jLynqjTQjs3LTe2NPYh7KokH6OM55X-n6SHinPm5NuRRXD7B-tV_yoBGXlELiuNkdf80v7lGjCMH_A5dpft22UyUggevOH-XiU9ufl-bJCEnSfBGh/s1600/8949450-3x2-700x467.png" /></a></div>
<span style="font-family: "arial"; font-size: 12.0pt;">The removal of "two-from-three" rule — owning any two of TV, print and radio was OK, owning all three was not — is the one that puts everybody into play. There are also bits like replacing TV and radio licence fees with a "spectrum fee", although they are unlikely to make much difference to the flow of deals in the wings. However, that doesn't mean it is total open slather — some checks remain.<br />
<br />The "five/four rule" enshrined by the Howard government in 2007 to prevent the number of media owners falling below five in capital cities and four in regional areas, is still on the books, while the Australian Competition and Consumer Commission — with its own rule book — is still on the prowl looking to bust market domination. To lesser extent, the Foreign Investment Review Board and shareholders themselves are in the mix, but they have never really been known to stop media takeovers. <br />
<br />A couple of times, shareholders have tried to stand in the way of a merger — to wit, a body of West Australian Newspaper investors against Kerry Stokes in 2011 and Ten investors at the moment — but they have generally been run over in the process.</span><span lang="EN-US" style="color: blue; font-family: "arial"; font-size: 12.0pt;"> <br />
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<h2>
<span style="font-family: "arial"; font-size: 12.0pt;">Here are the most likely deals</span></h2>
<span style="font-family: "arial"; font-size: 12.0pt;">The big investment bank, Morgan Stanley, has tallied up the permutations and combinations flowing from the law changes and has come up the most likely deals. There are a fair few options, but for the sake of brevity, this is the short list of the bigger deals being discussed:</span><br />
<ul type="disc">
<li class="MsoNormal" style="mso-list: l0 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Nine Entertainment and Southern Cross;</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Fairfax Media and Nine;</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Seven West Media and Prime Media;</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">News Corporation and just about anyone.</span></li>
</ul>
<span style="font-family: "arial"; font-size: 12.0pt;">Nine and Southern Cross have previously said they've had discussions, but Nine's sale of its 10 per cent stake in the regional broadcaster was not seen as a positive step to a future takeover. Would it create a bigger, stronger company? Morgan Stanley's Andrew McLeod thinks not. "Bigger combined audience reach, yes, but higher growth and higher return on capital are questionable," Mr McLeod said.<br />
<br />So Fairfax and Nine? Far more plausible and powerful, according to Mr McLeod. "This could be a rare opportunity to combine media assets and actually lift revenue growth rates via the two online businesses," he said. "Nine's video content could strengthen Fairfax's online video capability and lift traffic and audiences for the Fairfax sites."<br />
<br />Importantly, Mr McLeod notes both companies have little or no debt, which is a big advantage in delivering a highly positive earning per share outcome to both sets of investors. <br />
<br />Seven has always been regarded as a natural predator for its regional partner Prime and now the reach rule has been removed, it is off the leash. Given Prime is a reseller of Seven content, no-one else is likely to bid for it. Does it make sense for Seven? Sort of, but Prime is a lean operation and the cost savings in merging the two may not be large enough to make it worthwhile, and the potential for ongoing earnings growth is minimal.</span><br />
<h2>
<span style="font-family: "arial"; font-size: 12.0pt;">News Corp is the $10b gorilla</span></h2>
<span style="font-family: "arial"; font-size: 12.0pt;">Talking about off the leash, News Corp has never been shy about buying businesses — good, bad or indifferent, profitable or unprofitable — it just buys them and considers the consequences and write-downs later.<br />
<br />Last month, it wrote down the value of sundry newspapers, its stake in Foxtel and the REA real estate portal by $1.3 billion. Although that is dwarfed by the impairments News Corp has racked up by buying the likes of Dow Jones and Gemstar over the years. With its US rival CBS likely to snaffle Ten, News Corp could well turn its attention to Nine or Seven.<br />
<br />News already owns plenty of assets here and so any deal could be quite cost-effective or nerve-racking, depending on whether you are a shareholder or work in a newsroom facing further "rationalisation". The merger of online businesses and picking up Nine or Seven video content would be handy for News Corp's digital platforms.<br />
<br />Of course, any move from News while OK under the new media laws would still need to leap any hurdle put in its way by the ACCC. News could always satisfy itself with a tasty morsel like the $700 million Here, There & Everywhere radio network owner of brands such as KIIS and Gold, as well as the Adshel outdoor advertising business.</span><span style="font-family: "arial"; font-size: 12.0pt;"></span><br />
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<td style="padding: .75pt .75pt .75pt .75pt;"><div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Player</span></b></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Earnings (2018 estimates)</span></b></div>
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<td style="padding: .75pt .75pt .75pt .75pt;"><div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Market capitalisation</span></b></div>
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</tr>
</thead>
<tbody>
<tr style="mso-yfti-irow: 1;">
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">News Corporation</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$1.135b</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$10b</span></div>
</td>
</tr>
<tr style="mso-yfti-irow: 2;">
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Seven West Media</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$208m</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$1.1b</span></div>
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<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Nine Entertainment</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$206m</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$1.2b</span></div>
</td>
</tr>
<tr style="mso-yfti-irow: 4;">
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Fairfax Media</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$268m</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$2.2b</span></div>
</td>
</tr>
<tr style="mso-yfti-irow: 5;">
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Southern Cross</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$171m</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$1b</span></div>
</td>
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<tr style="mso-yfti-irow: 6;">
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Here, There & Everywhere</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$120m</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$700m</span></div>
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<tr style="mso-yfti-irow: 7; mso-yfti-lastrow: yes;">
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Prime Media</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$53m</span></div>
</td>
<td style="padding: .75pt .75pt .75pt .75pt;"><div class="MsoNormal">
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">$100m</span></div>
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<div style="text-align: center;">
<em><span style="font-family: "arial"; font-size: 8.0pt;">Earnings based on Morgan Stanley estimates of earnings before interest, tax, depreciation and amortisation (EBITDA).</span></em><span style="font-family: "arial"; font-size: 8.0pt;"></span></div>
<h2>
<span style="font-family: "arial"; font-size: 12.0pt;">What does history teach us?</span></h2>
<span style="font-family: "arial"; font-size: 12.0pt;">The last significant media law changes in 2006 — largely centred on abolishing foreign ownership rules — certainly arced up deal making, both large and small. It also sparked activity not held back by foreign ownership issues.<br />
<br />The then-Packer vehicle PBL sold half its media assets to the foreign private equity business CVC, proving you can have more than Alan Bond in your life. Kerry Stokes also hooked up with private equity, this time Kohlberg, Kravis, Roberts selling it a 50 per cent stake in his media assets including Seven and the magazine business for $3.2 billion. They are worth about a third of that today. That deal allowed a cashed-up Mr Stokes to get a large foothold in, and ultimately control of, his hometown West Australian Newspapers. Fairfax headed bush and bought Rural Press. <br />
<br />Morgan Stanley's Andrew McLeod says the experience of 2006 shows transactions could occur very quickly in 2017. "Some of the remaining ownership rules, such as the 'five/four minimum voices' rule, present a first-mover advantage for consolidation occurring in some assets and some markets," he said.</span><br />
<h2>
<span style="font-family: "arial"; font-size: 12.0pt;">So can the mergers turn back the tide?</span></h2>
<span style="font-family: "arial"; font-size: 12.0pt;">The bigger question is whether any of this will create more robust businesses able to compete and grow against the likes of Facebook and Google in the ad market.<br />
<br />Unlike King Canute of yore, who stood in front of a tide to prove his fallibility knowing such things were beyond mere mortals, the Government is backing its plan to help turn back the digital tsunami crashing in from offshore and sweeping away local profits.<br />
<br />Good luck with that, says Mr McLeod. "We think the key debate is whether on the other side of any merger and acquisition, higher growth/better quality media companies emerge — or if after one year's costs savings are banked, the downward trajectory in earnings and shareholder value resumes," he said. "We can envisage a few genuine re-invention opportunities, but in most cases it's more likely the latter."</span><br />
<h2 style="text-align: center;">
<span style="font-family: "arial"; font-size: 12.0pt;"><a href="http://www.abc.net.au/news/2016-01-29/global-internet-giants-crushing-australian-media/7125458" title="">Crushed: Digital giants vs Australian media</a></span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0oxM4Q2PVDe1o7gYTLL9HfWZr2k1daf97QK9pOcdhsfv-9ye-Ygqva_wClan8JZ92ley0EvcxMLFLDlLnvZzkqaALuyBczY7CcuYqQ6DJimxzT4RhPoH8Dlyd3uzJmfGqSFmgPErZFJCq/s1600/5310690-3x2-940x627.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="627" data-original-width="940" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0oxM4Q2PVDe1o7gYTLL9HfWZr2k1daf97QK9pOcdhsfv-9ye-Ygqva_wClan8JZ92ley0EvcxMLFLDlLnvZzkqaALuyBczY7CcuYqQ6DJimxzT4RhPoH8Dlyd3uzJmfGqSFmgPErZFJCq/s320/5310690-3x2-940x627.jpg" width="320" /></a></div>
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<span lang="EN-US" style="font-family: "arial"; text-decoration: none;"></span><span style="font-family: "arial"; font-size: 8.0pt;"></span><br />
<span style="font-family: "arial"; font-size: 8.0pt;"> <a href="http://www.abc.net.au/news/2016-01-29/global-internet-giants-crushing-australian-media/7125458" title="">Within a couple of years the likes of Google and Facebook will devour more than half local ad revenues, leaving only crumbs for traditional media players.</a></span><br />
<span style="font-family: "arial"; font-size: 8.0pt;"></span><br />
<span style="font-family: "arial"; font-size: 8.0pt;"></span><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span></div>
<span style="font-family: "arial"; font-size: 12.0pt;">Last year Australian TV networks lost around $1 billion between them, newspapers have lost even more over recent years, while profitability in radio is flat-lining at best. The test will be to achieve real top-line growth in sales, not just confected and unsustainable profit growth from cost-cutting.<br />
<br />The problem there is the advertising revenue pool is a bit of a zero sum game — with some GDP-style growth added in. In such a relatively stagnant pool, gaining sales means someone is losing. And on an exponential scale, the digital giants are winning and everyone else is losing. <span style="mso-spacerun: yes;"> </span>The one thing the likes of Facebook and Google won't do is bail out Australian shareholders with an ill-considered purchase of an old economy business. They are not that dumb.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjRZeKNM7GtDEaaArQ3AEpyEnOXD2bcLwEKW6swvqfTuIs9osgIuRBkSVFiXEVf118Q_n7-jq8At9QeegJQs3whojfLrphtDarMI9_YyYC9-f6RuN3Q0pk8XZizipNCfhpPgWd8d1FGDLH/s1600/7125670-3x2-700x467.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjRZeKNM7GtDEaaArQ3AEpyEnOXD2bcLwEKW6swvqfTuIs9osgIuRBkSVFiXEVf118Q_n7-jq8At9QeegJQs3whojfLrphtDarMI9_YyYC9-f6RuN3Q0pk8XZizipNCfhpPgWd8d1FGDLH/s1600/7125670-3x2-700x467.jpg" /></a></div>
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<span style="font-family: "arial"; font-size: 8.0pt;"><a href="http://www.abc.net.au/news/2017-09-15/advertising-spend-estimates-from-morgan-stanley/8950300"><b><span style="color: windowtext; text-decoration: none; text-underline: none;">Photo:</span></b> Morgan Stanley estimates of Australia's advertising spend by platform.</a></span></div>
<span class="abc-icon abc-icon-share"></span>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-52938365811249171102017-08-27T10:11:00.001+10:002017-08-27T10:11:52.202+10:00How to Get a Big-Budget Song in Your Low-Budget Indie Film
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<b><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;"></span></b><span style="font-family: Arial; font-size: 8.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href="http://nofilmschool.com/u/chrissuchorsky"><b><span style="color: blue;">by Chris Suchorsky </span></b></a>August 18, 2017</span></div>
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<b><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Want that big song, but don't have the cash? Read this. </span></b></div>
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<i><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />[Editor's Note: No Film School asked <a href="http://www.chrissuchorsky.com/"><span style="color: blue;">Chris Suchorsky</span></a> to write about how he secured the rights to a Tom Cochrane song for his indie documentary.]<br /></span></i><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">One of the first lessons I was taught as an indie filmmaker was this: “Never use a song you won’t be able to clear the rights to.” Don’t write it into a script. Don’t add it to an edit. Don’t even <i>think</i> about it because you’ll never be able to clear it. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />Well, I think that’s a stupid rule. Does that mean I think you’ll be able to clear "Bohemian Rhapsody" for that seven-minute sci-fi thriller you shot in your backyard with a <a href="http://www.bhphotovideo.com/c/search?Ntt=canon+t3i&N=4291570227&BI=5955&KBID=6829" title="Canon T3i"><span style="color: blue;">T3i</span></a>? Probably not—but it doesn’t mean you shouldn’t try. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />Plan to pay double if you use the song over your credits. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />When I made my first short film <i>Failure</i> in 2003, the original cut included Social Distortion’s “Bad Luck.” The song was a perfect fit because the film chronicled my failed attempt at making a feature-length narrative film and mishaps I face along the way. When it came time to enter film festivals and eventually sell the film to IFC, I had to pull the song out of the film because I never thought I’d be able to afford it. On top of that, I wasn’t sure how I would track down Mike Ness, the lead singer of Social Distortion, to clear the rights. To this day, when I hear that song, I think of my film. Sadly, I’m the only one that thinks that because I never cleared the rights and ended up using a song I could afford. It was this experience that made me realize I would always go after the music that worked best in my films, not the music I thought I could afford. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />Before I get into my personal experience of stalking musicians and negotiating a deal that doesn’t include mortgaging your home, we need to start with the basics. Below are three main hurdles you have to clear before you can use a song in your film. </span></div>
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<b><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">1. Get Artist Permission </span></b></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The first obstacle you’ll face is clearing the song with the artist. They’re not going to slap their song any ol’ film—they want to make sure their music is being represented appropriately. The greater the production, the more likely you are to get the green light. And if you’re nobody with nothing to show, they most likely won’t sign off until they see a finished product. </span></div>
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<b><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;"><br />2. Clear Master Rights </span></b></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Secondly, you need to clear master rights, AKA the record label. These are the guys that hold the actual rights to the physical recording. When an artist goes into the studio to record an album, someone has to pay for it; if a band/musician is signed to a record label, that label will pay for studio time, mixing, and production. Thus, they own the master rights. <br /><br />Alternatively, if an indie artist pays for their own album, they may create their own record label to distribute the album. The artist then owns the master rights. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />Record labels and publishers pay more attention to an email from a manager than they do a blind email from an indie filmmaker. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />There are a number of ways to figure out who owns the master rights to a song. One way is to go to iTunes and search the name of the song. Once you click on the song and bring up the album, the record label will be listed under the album cover art. </span></div>
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<b><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;"><br />3. Clear Publishing Rights </span></b></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The third and final hurdle you’ll face will be clearing the publishing rights. Most musicians are too busy to look after the royalties they are due if one of their songs is used in a commercial, television show, or film, so they sign publishing deals where they’re paid upfront by a publisher. The publishing company then negotiates the rights on the artist's behalf. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />Figuring out who holds the publishing rights can be a little trickier. The easiest thing to do is contact the artist's manager and have them point you in the right direction. </span></div>
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<b><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;"><br />4. Negotiate Payments </span></b></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Now that we understand that master and publishing are two separate rights, you should know these are also two separate payments. They are known as “per side.”</span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> What this means is if you were to go to a record label or publisher and negotiate a deal for a song, they might come back and offer the rights to use the song for $6,000 per side. This means you would pay the record label (master rights) $6,000 and the publisher (publishing rights) $6,000, totalling $12,000. <br /></span>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">You also need to get these two companies to agree on a price. I’ve been in a situation where the record label wanted $2,000 and the publisher wanted $10,000. Both companies are usually paid the same amount; further, their contracts state that if one side is paid more than the other, you owe the other side the same amount. That means if you have a publisher that won’t budge on $10,000, you have to pay the record label $10,000, even if they only asked for $2,000. In this situation, a $4,000 song just became $20,000. </span></div>
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<b><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">How I Secured the Rights to a Big-Budget Song </span></b></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">For the last five years, I’ve been working on my second feature-length documentary, <i>A Shot in the Dark</i>. The film follows a blind high school wrestler as he attempts to win a New Jersey State Championship. As I was shooting the film, I was constantly searching for music that would fit in the film. I would create playlists in iTunes and listen to a “potential soundtrack” as I drove to location for that day’s shoot. If I was on the treadmill at the gym, and a song played on the radio that I thought might fit, I’d Shazam the song or send myself an email with the title of the track so I could add it to my playlist when I got back to my computer. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">When I sat down to edit the film, I used the music I thought best fit the film, <i>not</i> the music I thought I could afford. When I was done with the initial edit, I looked at the soundtrack I had created and began the arduous process of clearing rights. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />I used the music I thought best fit the film, <i>not</i> the music I thought I could afford. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">From the beginning, there was one song I always wanted to use my film: “Lunatic Fringe” by Red Rider. If you know anything about wrestling, you know this song. It was featured in the 1985 film <i>Vision Quest</i> starring Matthew Modine and has since become the anthem of every wrestler in North America. I never thought I’d be able to get this song, but I was going to try! </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">As soon as I began researching the song, I found out that Red Rider is a Canadian rock band lead by singer Tom Cochrane. When I saw that name, my heart sank a little. You might remember Tom Cochrane as the “Life is a Highway” guy. For the last 25 years, that song has been used in commercials, television shows, and movies around the world. In 2006, Rascal Flatts re-recorded the song for Pixar's Oscar winning film <i>Cars</i>. The odds of getting this song for my no-budget indie doc about a blind high school wrestler seemed bleak. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I decided my first step would be to track down Tom Cochrane and his manager. As I mentioned before, it’s easier to go to an artist’s manager before contacting a record label or publisher because the manager can put you in touch with the right person to clear those rights. On top of that, record labels and publishers pay more attention to an email from a manager than they do a blind email from an indie filmmaker. When I went to Tom’s website, his email along with his manager’s were listed. I sent them a short email describing the film and how I wanted to use the song. The following day, I received an email from Tom’s manager letting me know they were reviewing the film and would get back to me when Tom had made his decision. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />Less than a week after I sent my initial request, I saw Tom Cochrane’s name in my inbox. He sent me a personal email letting me know how important he thought the film was and that he was giving the “okay” to use his song in my film. I was flabbergasted. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Minutes later, I was contacted by the Music Placement Manager at Universal Music Canada with the dreaded question we all face when it comes to clearing music rights: “What rights are you looking for and what kind of budget do you have for music licensing?” That’s when reality checked back in. I still had to negotiate a price for the song. I sat there and stared at the email for an hour. I thought to myself, “How do I tell Universal I don’t have any money for music? How do I tell Tom Cochrane I’m broke?” </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />"How do I tell Tom Cochrane I’m broke?"<br /></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I remembered another lesson I learned early on in my film career: never ask anyone to work for free. So I wrote the Placement Manager at Universal and explained, “This is a low-budget indie doc that has no money. With that said, I’m not asking for a handout. I want to pay for the song. I’m just asking for a fair price. Throw a number at me and I’ll see what I can do to get you what you need." <br /></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">It was a long shot. I wanted World Rights for Television, VOD, Web, and Film Festivals in perpetuity (AKA forever, all over the planet). That’s a tall order.</span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> A few days later, I’m sitting at my desk working on the film, and I hear a ping letting me know I have a new email. My heart sank again. This was the end of the road. This was the moment they tell me they want $30,000 for a classic rock song that I’ll never be able to afford. <br /><br /> </span>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">When I opened the email, I was a bit surprised. In so many words, the guy at Universal basically said, "Tom signed off on everything, you get all the rights you’re looking for, and it’ll cost X." </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />I looked at X. Then I looked at it again. Then I squinted to count the zeros and make sure the decimal point was in the right place. That was when I realized Tom Cochrane had given me the song for pennies on the dollar. Turns out, Tom was good friend with Jeff Healey, who you might remember as the blind musician in Road House or from his 1988 breakout hit “Angel Eyes.” I guess the film tugged at Cochrane's heartstrings; he wanted us to be able to use the song. I can never repay him for his generosity. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">But it wasn't over yet: I still needed to clear two other songs that had their rights tied up with big-name labels and publishers. And I was sure it wasn’t going to be as easy as it was with Mr Cochrane. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />To make a long story short, the record labels and publishers for both of these artists came back with crazy numbers. One publisher wanted 10 times as much as the label wanted. The other artist’s label came back with a number that could buy you a new Honda Civic, just because the song plays over the end credits. Oh, yeah: plan to pay double if you use the song over your credits. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />It was at this point, I remembered another lesson I learned from a friend who worked in sales. He explained to me that there are two goals in sales: one, get as much money as you can, and two, always close the deal. He explained that no matter what, these guys need to close these deals. They’ll start with a high number, but their main goal is to close the deal regardless of the price. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />So I gambled and basically said, “I can’t buy you a new Honda Civic, but I can buy you a new set of tires. That’s the best I can do. If you can’t work with that number, I’ll have to use another song. I want to give you money. I hope you’ll take it.” </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Surprisingly enough, they took it. </span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br />Now, you’re probably wondering what I paid for these songs. What kind of numbers are we talking about? I can’t tell you what I paid for each individual song, but I will tell you this: One big-name publisher wanted $10,000 for the rights I asked for. I offered them $750. I presented my case, explained our story, and cried empty pockets. But I still offered to pay them. And after weeks of back and forth, they took it. </span></div>
Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-54031166342268933682017-08-16T14:36:00.003+10:002018-08-22T13:46:28.704+10:00Food Films, Yummy Recipes Re-imagined in the Distinct Styles of Famous Directors<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #009933;">Food artist and director </span><a href="https://www.youtube.com/user/dma052/" sl-processed="1" style="box-sizing: border-box; color: #009933; transition: all 0.1s ease-in-out 0s;">David Ma</a><span style="background-color: white; color: black;"> has created a </span><a href="https://www.youtube.com/user/dma052/videos" sl-processed="1" style="box-sizing: border-box; color: #009933; transition: all 0.1s ease-in-out 0s;">wonderful films series</a><span style="background-color: white; color: black;"> in which all sorts of yummy recipes being in the style of famous directors. Included in this series are </span><a href="https://youtu.be/55m-oJq0Lko" sl-processed="1" style="box-sizing: border-box; color: #009933; transition: all 0.1s ease-in-out 0s;">Tarantino inspired spaghetti and meatballs</a><span style="background-color: white; color: black;">, </span><a href="https://youtu.be/51sqHeClZ3s" sl-processed="1" style="box-sizing: border-box; color: #009933; transition: all 0.1s ease-in-out 0s;">s’mores by Wes Anderson</a><span style="background-color: white; color: black;">, </span><a href="https://youtu.be/aIsy3iS7SYE" sl-processed="1" style="box-sizing: border-box; color: #009933; transition: all 0.1s ease-in-out 0s;">waffles by Michael Bay</a><span style="background-color: white; color: black;"> and </span><a href="https://youtu.be/6_hpJHNt4IE" sl-processed="1" style="box-sizing: border-box; color: #009933; transition: all 0.1s ease-in-out 0s;">pancakes by Alphonso Cuaron</a><span style="background-color: white; color: black;">.</span></span><br />
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Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-5561962894562034682017-08-13T15:12:00.000+10:002018-08-22T07:59:51.202+10:00How to Film Interviews<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;"><b>Ask yourself:</b><br />What is the subject/purpose/theme of my film?<br />What are some good questions I can ask my interviewees?<br />Why am I conducting these interviews; what do I hope to gain from this?<br />Where do I want to take this film or what do I want to do with it when I'm done?<br />Who do I want to film?<br />Do I want to be on or off camera when I ask the questions?<br />
<br /><b>Watch television or documentary interviews.</b><br />
<br />Try to find films or television shows that have a similar subject to yours or that offer a style you hope to imitate.<br />
<br /><b>Ask yourself these questions when viewing:</b><br />How is the interviewer asking their questions?<br />Where is the interviewee looking when answering the questions?<br />Where is the camera's focus?<br />Where is the light hitting on the subject's face?<br />How close or tight is the camera shot?<br />At what angle is the camera pointed and what angle is the interviewee sitting in relationship to the camera?<br />
<br /><b>Prepare your interview questions.</b><br />Have at least 10 to 20 good questions prepared, and be prepared to ask more on the fly.<br />Be prepared to stray from the questions you have written down; your interviewee might offer information that you weren't expecting taking you in an entirely different, yet more interesting, direction.<br />Start with topical questions that will make your subject feel at ease; e.g., "What is your name?" "Where are you from?" These kinds of questions are easy for the interviewee to answer, which will help them to feel comfortable.<br />Save the hard questions for the tail end of the interview. A person tends to forget the purpose of the questioning and becomes more comfortable talking with you in front of a camera after about ten minutes.<br />
<br /><b>Find willing participants.</b> <br />The biggest fear of anyone that agrees to be on camera, is that the person interviewing them will make them look like a fool.<br />Be upfront with your interviewee with what you are doing and why you're doing it.<br />It is imperative that your subjects are okay with you asking them questions and comfortable with the idea of a camera being pointed at them. If they're not, you will have a resistant person and the interview will be difficult.<br />Some people will want a list of the questions before they agree to do the interview. They would not be what you would call an open-minded or willing participant. Think of them as apprehensive and consider asking someone more agreeable.<br />
<br /><b>Filming the Interview</b></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;"><b><br />Have the set ready.</b><br />Your interview location and background are as important as the interview.<br />Know if you want the set to play a role and shape the tone of the interview, or if you want the subject to pop out from the plain or dark background.<br />Let the interview subject know you are not wasting their time. Have a place for your subject to sit and all the lighting in place at least 15 minutes prior to their arrival.<br />Adjust the lighting based on your subject's height and what they're wearing.<br />Place the camera where you want it to be before they arrive. Plan to adjust the height of the tripod and the camera settings once your subject is in place.<br />Have the camera on and be ready to shoot before the subject arrives.<br />Be prepared for last minute changes. Rarely do things go precisely according to plan in the business of filmmaking.<br />
<br /><b>Follow the rules for camera and subject placement.</b><br />Know the rule of thirds. Place your subject's face on one of the axis points; i.e., where the vertical and horizontal lines intersect - also in red in the picture.<br />Film the interview subject straight on or at an angle (45 degrees is ideal). Filming straight on requires that you place the interviewee in the left third or right third of the camera's screen.<br />Have the interview subject speak directly to the person asking the questions, not directly into the camera. Sit near the camera (within 45 degrees), but not behind the camera, when asking questions.<br />
<br /><b>Be comfortable interviewing.</b><br />Relax. If you're relaxed, you will put your interview subject at ease and they will relax.<br />Be confident. If you're prepared with your questions and you arrive early to the set, there's no reason to feel uncomfortable. You can do this, it just takes practice. This calm confidence will be silently communicated to your interview subject, and things should go well.<br />
<br /><b>Ask open-ended questions.</b><br />Ask thought-provoking questions that cause the interviewee to pause and contemplate an authentic response. These are contemplation centred questions as opposed to content centred questions. For example, ask: What do you like/dislike about driving a car? What have you learned about driving over the years? Rather than: What is the purpose of the gas pedal? The last question leads the interviewee to your desired answer rather than letting them contemplate a personal response.<br />
<br /><b>Listen actively to your subject.</b><br />Ask your subject a question, then listen to the answer. Pay close attention to the content of what they are saying, the context in which they are saying it, and what their face, body, voice, and eyes are really saying to you. Notice if they are uncomfortable with the question, and find out why without forcing the issue.<br />Nod with your head and focus your eyesight to acknowledge you are listening. Insert the occasional, "Yes", or "Uh-huh". Make sure you don't overlap or interrupt the interviewee. Your voice will be recorded also.<br />
<br /><b>Knowing What to Avoid</b><br />Avoid a lawsuit. You can be held legally liable for many things such as defamation of character if the subject(s) of your film does not like the way you portray them. Get your interviewee's permission. Get a signed release form from your film subject if you plan on showing this film anywhere other than your home. Ensure you have location permission, too. Get a location release if you are filming in a location that does not belong to you; i.e., you do not own the property.<br />Avoid filming minors. Children under the age of 18 come with parents and a lot more responsibility for the filmmaker.<br />Avoid minors until you are an established filmmaker and more aware of the legalities that come along with this.<br />Avoid filming professional actors, especially union SAG or Equity actors (Screen Actors Guild). Again, until you are an established filmmaker, this is not an area you want to enter into because there are many laws and regulations when working with professional actors and minors or both.<br />Avoid running out of time. Make sure you have plenty of time booked at your location, charge left on your batteries and at least one back up battery, and storage space on your recording media (e.g., SD Card). An interview with one willing participant is likely to run 25-35 minutes, so be prepared.<br />Avoid asking yes or no questions; e.g., "Do you live in San Francisco?" The interviewee will most likely give you one-word responses. Don’t let the subject see any emotion on your face except pleasure. A person on camera is very aware of everything around them. If it is a bad interview, you may need to do another one, but it is more likely that you will find usable pieces of the interview when you head into post-production editing. It may take some people longer to really open up on camera than others.<o:p></o:p></span></div>
<br />Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-76258549264712930552017-08-13T12:23:00.000+10:002017-08-15T09:45:15.908+10:004 Signs a Film is 'Hitchcockian'<section class="img col-lg-offset-2 col-lg-8 col-md-offset-2 col-md-8"><div class="field field-name-field-image field-type-image field-label-hidden">
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Never not<span style="font-family: arial, helvetica, sans-serif;"> know what you're talking about again.</span></div>
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</section><span style="font-family: "arial" , "helvetica" , sans-serif;">Picture this. You're out on a date with an attractive member of whatever sex you happen to prefer. You've made a mutual decision to catch a thrilling, dark or otherwise frighteningly suspenseful movie.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">After the film, your respective partner turns to you and asks, "What did you think of that movie?" To which, you take a second, clear your throat and respond, "Well, this is obvious of course, but I found it to be immensely Hitchcockian." Your date cocks an eyebrow, wipes away a bead of sweat and says, "Of course."</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Cleary, he or she is impressed. You've just sounded very smart. And that is that.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The term has become a blanket way of identifying anything that we find
"good" or perhaps even "innovative" within the thriller genre.
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It's a good thing they pretended to know what you were talking about, instead of asking you to both clearly and articulately define what it was exactly that made you describe the film in that way. It's safe to say, at that point, a lot of people (film critics included) would be screwed. The term has become a blanket way of identifying anything that we find "good" or perhaps even "innovative" within the thriller genre.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">When you throw around "Hitchcockian" as a blanket term like that, you really lose an appreciation for what exactly makes a <a href="http://nofilmschool.com/tags/alfred-hitchcock?type=articles">Hitchcock</a> movie so unique. In her video essay <i>Alfred Hitchcock and The Art of Pure Cinema</i> for <a class="external" href="https://www.youtube.com/channel/UCRJb25KrANk_O4LdKYoYccA" target="_blank">Art Regard</a>, Luiza Liz Lopes does a fantastic job of breaking down what it is exactly that makes a film "Hitchcockian."</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Here's what we took away.<br /></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">1. Hitchcock uses film as a place for audiences to project their anxieties</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This could very well be the most overwhelmingly identifiable trait of a Hitchcockian movie. As Lopes puts it, "Cinema invites you to reflect on your own impulsions and anxieties, considering which role you want to play when you juxtapose your psychological interpretations to the filmmaker’s intention." We use the word overwhelming here because the feelings of dread that Hitchcock's characters feel quickly become our own. It is the level of depth at which we feel personally connected with the film that made Hitchcock such a master at exploiting his audiences.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">"Suspense in Hitchcock’s filmography is powerful because it is structural, it is character-based and, there, blurs the line between our reality and the diegetic space," Lopes notes. "As spectators, we often stare at the diegetic space through the eyes of individual characters, but Hitchcock’s use of point-of-view reveals much more than just a voyeuristic gaze. We are invited to look through Hitchcock’s eyes entering the shell of his personality and discovering the rooted perversions that may be also in our own nature, inherent to the human condition."</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">“Hitchcock’s films evoke the underlying forces that form our imagination,” Lopes explains. The beauty here is not simply that we feel uncomfortable watching some graphic scene of violence in a film, it is that we feel almost responsible for rendering that violence upon them, and what's more...we kinda liked it. The uncomfortable feeling comes from us worrying about our own perversions, which is an altogether more terrifying prospect.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Especially when on a date.</span><img alt="" height="484" src="https://nofilmschool.com/sites/default/files/styles/article_superwide/public/psycho04.jpg?itok=EhQy7a59" style="font-family: arial, helvetica, sans-serif;" title="" width="640" /><span style="font-family: arial, helvetica, sans-serif; font-size: xx-small;">"Psycho" Credit: Paramount Pictures<br /><br /></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>2. Hitchcock's films were a way for him to deal with his own worst fears</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Hitchcock once said, “The only way to get rid of my fears is to make films about them." Lopes describes these films as "projections, dreams, constantly evoking childhood fears and commonly repressed dreads as motifs in his filmography; voyeurism, the fear of heights, murder, betrayal, guilt, or even the unsettling notion that chaos lies just underneath the surface of everyday life.”</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">These aren't your standard B-movie horror monsters. Hitchcock understood that we are the most terrified when we understand "that the evil doesn’t lurk behind a door, but it is constantly there, around us, watching.”</span><img alt="" height="358" src="https://nofilmschool.com/sites/default/files/styles/article_superwide/public/vertigo.jpg?itok=JmpmApDf" style="font-family: arial, helvetica, sans-serif;" title="" width="640" /><span style="font-family: arial, helvetica, sans-serif; font-size: xx-small;">"Vertigo" Credit: Universal Pictures</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">3. Hitchcock knows you're watching</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">It's true that the gaze plays a very important role in many of Hitchcock's films. It's also important, however, to realize that voyeurism is employed as more than just a thematic device (as is the case in <i>Rear Window</i>.) Hitchcock took it a few steps further.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">We've touched on how his craft causes the audience to project their own desires through the eyes of the film's characters, but he was also one of the first to use film as if it had eyes of its own. As Lopes puts it, Hitchcock's films are "aware of its spectator’s gaze as much as we are aware of the camera and its impossibilities."</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">There is something exciting about voyeurism and, as the audience, it often feels like we're able to get away with watching these secrets unfold before our very eyes. “It was Hitchcock that first understood cinema’s obsession with gaze," Lopes claims. He didn't shy away from "the fetish and the desire that the camera imposes in us spectators.” Instead, he embraced it and thus we feel as if the film is somehow judging us for sitting idly by as the character's stories descend further into dread.</span><br />
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<figure class="nfs-media-image supersize" style="margin-left: 1em; margin-right: 1em;"><span style="clear: left; float: left; font-family: "arial" , "helvetica" , sans-serif; margin-bottom: 1em; margin-right: 1em;"><img alt="" height="358" src="https://nofilmschool.com/sites/default/files/styles/article_superwide/public/jimmy_stewart_rear_window_looking_through_camera.png?itok=Jdzxy_la" title="" width="640" /><span style="font-size: xx-small;">"Rear Window" Credit: Paramount Pictures</span></span></figure><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">4. Hitchcock mastered every tool at his disposal</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">As Lopes is keen to point out, “Hitchcock mastered every single aspect of filmmaking: screenplay, cutting, photography, sound.” Not only was he a master of all these tools, but he used them all to serve in the respect of building up suspense. "Suspense is the core logic of Hitchcock’s films," Lopes argues. "His almost perverse choices that build up the tension by emphasizing details, bringing the audience closer, breaking the action into puzzle pieces, revealing the hidden psychological meanings behind what is perceived."</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">She further identifies a few specific examples of how Hitchcock would employ these tools. Take montage, for example. Lopes describes the way the director uses them as "if the shots and scenes are words, the montage assemble phrases and, by doing so, perform a dual role: they obstruct and clear, the reveal and hide both the transcendental value of the cinematic image and the structure of the narrative."</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">She also isolates Hitchcock’s use of slow dissolves as transitions that "disclose something that was once hidden from the characters, but at the same time, bring the audience to a clearer understanding of the frightful mystery that is the act of seeing and perceiving.</span>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-33789829246400462382017-07-06T10:47:00.002+10:002018-08-22T08:03:12.041+10:00Game tests your ability to spot fake news—and it’s not as easy as you’d think<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
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<span style="font-family: Arial, Helvetica, sans-serif;">Spotting <a class=" dd-link-internal" href="https://www.dailydot.com/layer8/fake-news-sites-list-facebook/">fake news</a> can be hard with so much of it polluting your timelines and news feeds. But one game wants to help you brush up your skills so you don’t get fooled in the future.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The game, <a class=" dd-link-external" href="http://factitious.augamestudio.com/#/">Factitious</a>, was designed by former American University Fellow Maggie Farley and Bob Hone, a professor at the University. The game was created in the college’s American University Game Lab.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Essentially, the game uses a <a class=" dd-link-internal" href="http://dailydot.com/tags/tinder/">Tinder</a>-like interface that has people swipe left or right to see if they can spot fake news. Swipe left if you think the article that pops up in front of you is fake and swipe right if you believe the sample article is real.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In Factitious, the game defines fake news as “stories fabricated for fun, influence, or profit, as well as satire, opinion, and spin”—<a class=" dd-link-internal" href="https://www.dailydot.com/layer8/despite-repeated-calls-to-stop-trump-again-tweets-about-morning-joe/">not stories you don’t agree with</a> (which is how President <a class=" dd-link-internal" href="https://www.dailydot.com/topics/donald-trump/">Donald Trump</a> uses the phrase).</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">“Fake news is impossible to stop, so we wanted to playfully teach people how to recognise it,” Farley said in a <a class=" dd-link-external" href="https://www.american.edu/soc/news/fake-news-game.cfm">blog post</a> about the game. “But the game is fun to play in itself.”</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">With fake news <a class=" dd-link-internal" href="https://www.dailydot.com/layer8/anti-press-normalizing-trump/">proliferating wildly since the 2016 election</a>, being able to spot it is essential for anyone who wishes to read factual news. Factitious helps you spot what stories are fake and even gives you a bit of a hint by looking at the source of the article (which is helpful to know moving forward).</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><a class="dd-article-authors-link" href="https://www.dailydot.com/author/andrewwyrich" itemprop="author" itemscope="" itemtype="http://schema.org/Person"><span itemprop="name">by Andrew Wyrich</span></a> on <a href="https://www.dailydot.com/layer8/factitious-game-fake-news/" target="_blank">The Daily Dot</a></span>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-11176142229295598812017-07-03T10:10:00.000+10:002018-09-04T08:51:44.574+10:00In a Fake Fact Era, Schools Teach the ABCs of News Literacy<br />
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<li data-reactid="227"><span style="font-family: Arial, Helvetica, sans-serif;"><span class="byline-component" data-reactid="219"><span class="byline-component__content" data-reactid="223" itemprop="author"><a class="byline-component__link" data-reactid="224" href="https://www.wired.com/author/issie-lapowsky/" rel="author" role="presentation" tabindex="-1">by Issie Lapowsky</a></span></span><time class="date-mdy" data-reactid="228">, 06.07.17 at <a href="https://www.wired.com/2017/06/fake-fact-era-schools-teach-abcs-news-literacy/" target="_blank">WIRED</a></time></span></li>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="lede" data-reactid="244">Fourteen-year-old Isabel Catalan </span>stares intently at her laptop as she walks me through a recent assignment one sunny morning a few weeks before summer vacation. The studious eighth grader and I are sitting in a tiny, colourful classroom at Norwood-Fontbonne Academy, a small private elementary school in the tree-lined Philadelphia suburbs, which also happens to be my Alma mater.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In most ways, Norwood feels a lot like I left it nearly 20 years ago. Catalan wears the same plaid kilt and golf shirt combo that I did, and lugs her books from class to class in the same blue canvas tote we used to call our "daily bags." In the hallway I pass my old social studies teacher, who’s been working here for almost half a century. On a bookshelf in Catalan’s classroom, I spot a roughed up copy of <em data-reactid="249">The Face on the Milk Carton</em> that I’m almost certain I checked out from the library sometime around 1999.But in other ways—important ways—the school is radically different. The clunky desktops and overhead projectors have given way to flatscreens and laptops in every classroom. And while back then Microsoft Encarta was our main research tool, today Norwood students have a world of information—and misinformation—ever at their fingertips.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Which brings us to Catalan’s assignment. On the screen in front of her is a viral tweet written by one TrumpsterMarty: "Muslims were already banned from the United States! 1952 US LAW! RETWEET." It comes with a screenshot describing the Immigration and Nationality Act of 1952, which barred immigration by anyone who seeks to overthrow the government "by force, violence, or other unlawful means."</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Image by <cite class="caption-component__credit" data-reactid="261">Issie Lapowsky</cite></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">"This, by its very definition, rules out Islamic immigration to the United States," the screengrab reads.<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Catalan, who wears her pin-straight brown hair brushed all the way down her back, pauses for a beat. “This one, I had to think about,” she says. Then she talks it through. "I looked at who posted it: TrumpsterMarty," she says. "The person who posted this wanted you to retweet it. It just doesn’t sound accurate."</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">She decides the post is fiction, and <a data-reactid="268" href="https://checkology.org/">Checkology</a>, the online platform she’s showing me, tells her she’s right. Checkology is the latest creation of the News Literacy Project, a non-profit founded by former <em data-reactid="271">Los Angeles Times</em> reporter Alan Miller. Since 2009, the tiny eight-person non-profit has been working one on one with schools to craft a curriculum that teaches students how to be more savvy news consumers. Last year, in an effort to scale its impact, the team bundled those courses into an online portal called Checkology, and almost instantly, demand for the platform spiked.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“Fake news is nothing new, and its impact on the national conversation is nothing new, but public awareness is very high right now,” says Peter Adams, who leads educational initiatives for News Literacy Project. Now, Checkology is being used by some 6,300 public and private school teachers serving 947,000 students in all 50 states and 52 countries.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Norwood began using the program in March following one of the most frenetic elections in American history. Inspired by the avalanche of "alternative facts" and fake news they were seeing in their own social media feeds, teachers Lindsey Sachs and Shannon Craige decided to launch a four month-long course in teaching students to sift fact from fiction online.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><cite class="caption-component__credit" data-reactid="325"><span style="font-family: Arial, Helvetica, sans-serif;">Checkology</span></cite></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">"News has shifted so much. Everyone can be a reporter now," says Sachs, the school’s technology teacher. "It’s about them realising you can’t take everything at face value."</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The platform offers lessons on the First Amendment, the difference between branded content and news, and how to distinguish between viral rumours—political and otherwise—and reported facts. Teachers help the kids understand sourcing, bias, transparency, and journalistic ethics. The platform also includes interviews with working journalists such as Matea Gold at <em data-reactid="317">The Washington Post</em>, who help put a face to the boogeyman that has become known as "the media."</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">"This is no longer something that if we have time to expose children to, that would be great," says Michelle Ciulla Lipkin, executive director of the National Association for Media Literacy Education. "This is a crisis situation. We do not teach our students enough about what they need to understand about the world they live in." Checkology, she says, is one important tool helping to change that.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Infograzers</span></h3>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the day I returned to my Alma mater, the students were categorising online posts as news, entertainment, propaganda, publicity, advertising, raw information, or opinion. As Craige stood by, 13-year-old Catherine Aaron, an 8th grader already dressed in her softball uniform for that day's game, puzzled over a headline from the left-leaning outlet <em data-reactid="332">Daily Beast</em>. It <a data-reactid="335" href="http://www.thedailybeast.com/and-then-they-came-for-big-bird-public-broadcasting-reels-from-trumps-plan-to-destroy-it">read</a>, "And Then They Came for Big Bird: Public Broadcasting Reels From Trump’s Plan to Destroy It." The sub-headline continued, "Next on President Trump’s hit list: public broadcasting. His plan to de-fund it will have a decimating effect on access to nuanced journalism and educational TV." Aaron had a hunch this was the author's opinion. "What makes you think that?" Craige prompted the 8th grader.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">"The language of it is more of an opinion," Aaron says. "Decimating. Destroying." Sophie Giovonnone, 14, isn't so sure. She thinks it might be working as publicity for Democrats, "because it could cause some conflict" for Trump.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I ask Giovonnone whether she knows what the <em data-reactid="350">Daily Beast</em> is. She doesn't. In fact, most of the students say that outside of class, they rarely encounter much news online at all. Only one student in the whole class uses Twitter. No one even has a Facebook account. Their social media lives consist mainly of Instagram and Snapchat, one of the few platforms that still meticulously curates what news is and isn't allowed in its Discover feature. (WIRED recently joined Discover.)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For a moment, I think, maybe the fact that these students aren't using Facebook or Twitter is a promising sign. Maybe the very nature of the platforms this generation is growing up with will shield it from the internet's onslaught of misinformation. But Adams stops me short. Kids today, he says, are "infograzers." Without realising it, the memes they share and and viral videos they watch each day are telling them stories about the world they live in—not all of them true.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">"What counts as news has broadened for this generation," he says. "Unless they learn to flag content and figure out why something might not be sound evidence, it sticks with them." And even if they're not skimming social media, it's become second nature to them to whip out their smartphones and Google the answers to any questions they don't know. Tools like Checkology encourage them to dig deeper than the first headline that turns up.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As they get older, the spectrum of online sources they use will broaden even further, and that's when these skills will matter most, says Ciulla Lipkin. "When we were growing up some of the work we’re doing in school might not have seemed relevant at the time, but it’s teaching students skills they need for the future," she says. "It gets students to practice asking questions." Or, as Sachs puts it, "We're arming them before they hit the battle."</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The question is—as it is for all school subjects—will that practice stick as students grow up and technology evolves? The company is currently crunching the numbers on its first quantitative survey that measures how students' understanding of the topic changes from the beginning of the course to the end.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Catalan, Aaron, Giovannone, and the rest of the 8th grade class walked away from Norwood on Monday for the last time. This fall, they'll head off for high school. If by some chance they return to this place 20 years down the road, as I did, they will no doubt find that the world of communication has changed even more drastically since they sat in these very seats. Now, as the country continues to fight over the fundamental definition of truth, it falls to educators across the country to prepare their students for whatever mayhem those changes may bring."</span>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-66553051775832331832017-07-03T09:47:00.002+10:002018-09-04T08:52:58.366+10:00How web series are shaking up Australia’s screen industry<div class="grid-ten large-grid-nine grid-last content-body content entry-content instapaper_body" itemprop="articleBody">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;"><b><span class="fn author-name" itemprop="name">First published at The <a href="http://theconversation.com/how-web-series-are-shaking-up-australias-screen-industry-79844" target="_blank">Conversation</a>, June 30, 2017. Written by </span><a href="http://theconversation.com/profiles/sue-swinburne-117172" rel="author"><span class="fn author-name" itemprop="name">Sue Swinburne</span></a> - Lecturer in Film and Screen Media Production, Griffith Film School, Griffith University<a href="http://theconversation.com/profiles/richard-fabb-385502" rel="author"><span class="fn author-name" itemprop="name"> & Richard Fabb - </span></a>Senior Lecturer, Film and Screen Media and Creative Director, LiveLab, Griffith Film School, Griffith University</b></span><span style="font-size: x-small;"><span class="fn author-name" itemprop="name"></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The recent <a href="https://www.screenaustralia.gov.au/sa/media-centre/news/2017/06-15-abs-survey-results">Film, Television and Digital Games Survey</a>, conducted by the ABS for Screen Australia, showed a staggering growth in web series made in Australia: from just 107 episodes in 2012 to 3,248 in 2016. At the same time, the amount of TV drama broadcast fell from 632 hours to 497, while the amount of TV documentaries being made dropped from 566 hours to 444. This explosion in web series is fostering a far more democratic platform than TV or cinema.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">This week at <a href="http://www.melbournewebfest.com/2017-program/">Melbourne Webfest</a>, 50 series from Australia and around the world are competing in 21 categories, with the winners announced at a gala event on Sunday. The Melbourne awards follow the <a href="http://www.ovas.tv/">Australian Online Video Awards</a>, and international events like <a href="http://www.webbyawards.com/">The Webby Awards</a>, <a href="https://www.streamys.org/">The Streamy Awards</a>, and <a href="https://lawebfest.com/">LAWebFest</a>.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The relative youth of the world’s major web festivals reflects the immaturity of the form itself. But these fests are growing up fast, and online content is being taken seriously by industry elders in broadcast TV and cinema: both the <a href="http://www.emmys.com/">Emmy</a> and <a href="http://www.aacta.org/the-awards.aspx">AACTA Awards</a> now welcome online video into some categories.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">It may be that the Screen Australia figures don’t show the true scale of the growth, as online content isn’t always produced by an established production company or broadcaster, making it difficult to track. Still, while 2011 may not be the Year Zero the statistics suggest, there can be little doubt that there’s been extraordinary growth in this mode of TV production.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Who is making the content?</span></h2>
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<span style="font-family: Arial, Helvetica, sans-serif;">Drilling down into demographics is tricky given the nature of the web, but some high-profile success stories help to paint a picture of who’s behind this surge. Women feature strongly, with comedy stand-outs from producer Tamasin Simpkin (<a href="http://thekateringshow.com/">The Katering Show</a>), and the team behind <a href="https://www.youtube.com/channel/UC4FVKG3QEgghwbnPDtfC1-Q">SketchShe</a>, a trio of female sketch comedians perhaps most famous for their <a href="https://www.youtube.com/watch?v=PMpQUsQcJFg">lipsync car videos</a>.</span><br />
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<figure> </figure><span style="font-family: Arial, Helvetica, sans-serif;"> Online has also been a great proving ground for LGBTIQ voices like Julie Kalceff, creator of <a href="http://www.startingfromnowtv.com/">Starting From … Now</a>, and <a href="https://australianculturalfund.org.au/projects/jade-of-death/">Jade of Death</a> director Erin Good, a six-part supernatural drama. The web has given these emerging writers, directors, and producers the chance to create content that would have struggled to see the light of day in a conservative, risk-averse broadcast market.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/p2urhUtza_w/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/p2urhUtza_w?feature=player_embedded" width="320"></iframe></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Australian factual content also does well online. One example is YouTube science powerhouse <a href="https://www.youtube.com/user/1veritasium">Veritasium</a>. Its creator, Derek Muller, came to YouTube as a 29-year-old, while working on the ABC’s Catalyst program.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">It’s telling that while Catalyst has been <a href="https://theconversation.com/what-the-abcs-new-catalyst-could-mean-for-science-on-tv-68161">pruned back at the ABC</a>, Muller’s YouTube channel has gone from strength to strength, racking up an astonishing 4 million subscribers. His most popular video, on the Magnus effect, has over 34 million views.</span><br />
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<figure> <figcaption><span class="caption" style="font-family: Arial, Helvetica, sans-serif;"> </span></figcaption><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/2OSrvzNW9FE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/2OSrvzNW9FE?feature=player_embedded" width="320"></iframe></span></div>
<figcaption><span style="font-size: xx-small;"><span class="caption" style="font-family: Arial, Helvetica, sans-serif;"></span></span></figcaption><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;"><span class="caption">An episode of Veritasium.</span></span> </span></figure></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Animation has also contributed to the growth in Australian web series. The <a href="https://www.youtube.com/user/SexuaLobster/about">Sexual Lobster</a> YouTube channel, for instance, has been a recipient of Screen Australia and YouTube’s Skip Ahead funding program for Australian YouTubers. <a href="https://www.screenaustralia.gov.au/sa/media-centre/news/2016/mr-161111-skip-ahead-2016">In 2016</a> the program awarded funding to three established YouTube channels for longer projects, either one-off films or pilot episodes.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://artspear.com/">ArtSpear Entertainment</a>, which began as a live-action project, has seen its subscriber base grow from just a few thousand to over a quarter of a million in just two years after shifting to parody animations of blockbuster movie trailers.</span><br />
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<figure> </figure><span style="font-family: Arial, Helvetica, sans-serif;"> Amid the surge of new web series, there are also a sizeable number of very low budget projects, often produced by film students or recent graduates. That in itself is nothing new, with series like <a href="https://www.youtube.com/watch?v=JqdxL-x8MZI">SYD2030</a>, <a href="https://vimeo.com/channels/flatwhites">Flat Whites</a>, and <a href="https://www.youtube.com/watch?v=SzIzQ_qzL2Q">Newtown Girls</a> examples of web pioneers from the early 2010s.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">But while those early series may have lacked the production polish of a broadcast TV show, the passion of these shows’ makers is now matched by ever-improving production standards. WebFest’s Content Director, Alexander Hipwell, has noted a “massive jump” in quality web series.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/K9G9lfA8fa8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/K9G9lfA8fa8?feature=player_embedded" width="320"></iframe></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Digital technology continues to level the playing field, allowing emerging talent to compete alongside bigger budget productions. Series made for as little as $2500 were selected for Melbourne WebFest over projects with budgets between $500,000 and $1,000,000. These “amateur” works may hold their own - competing even in the top festivals - alongside fully funded work.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">So what does this mean for the traditional funding models, and regulatory frameworks? The Australian government is looking to recalibrate the screen industry through its <a href="https://www.communications.gov.au/australian-childrens-screen-content-review">review of screen content</a>, while the broadcasters are working hard to find ways to stay afloat within their current business models and funding structures. What is clear is that the screen industries are being gradually taken over by new content creators like those treading the red carpet at Melbourne Webfest. They will undoubtedly be at the forefront of the changes to come.</span></div>
Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-74965192542349181002017-07-03T06:32:00.000+10:002017-07-03T06:32:00.134+10:00How To Make Air Powered Blood Squibs For Gunshot Special Effects<span style="font-size: xx-small;">by </span><span style="font-size: xx-small;"><span class="entry-author" itemprop="author" itemscope="" itemtype="https://schema.org/Person"><a class="entry-author-link" href="https://laughingsquid.com/author/justinrampage/" itemprop="url" rel="author"><span class="entry-author-name" itemprop="name">Justin Page </span></a></span>-Via <a href="https://laughingsquid.com/air-powered-blood-squibs/" rel="nofollow" target="_blank">Laughing Squid</a></span><br />
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Squib is a fun word to say, and <a href="https://en.wikipedia.org/wiki/Squib_%28explosive%29" rel="nofollow" target="_blank">squibs</a> are fun to talk about because their name sounds so funny people can't help but ask "what the hell is a <a href="https://en.wikipedia.org/wiki/Squib_%28explosive%29" rel="nofollow" target="_blank">squib</a>?!" when they hear it said aloud.<br />
But filmmakers know <a href="https://en.wikipedia.org/wiki/Squib_%28explosive%29" rel="nofollow" target="_blank">squib</a> isn't just a funny word- it's the secret to making gunshot effects look realistic on camera.<br />
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<a href="https://laughingsquid.com/wp-content/uploads/2017/06/how-to-make-air-powered-blood-squibs.gif?w=750" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://laughingsquid.com/wp-content/uploads/2017/06/how-to-make-air-powered-blood-squibs.gif?w=750" width="640" /></a></div>
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In his <a href="https://youtu.be/5dgUVLcDLY4">latest tutorial</a>, <a href="https://twitter.com/FilmmakerIQ">John P. Hess</a> of <a href="https://filmmakeriq.com/">Filmmaker IQ</a> gave us a <a href="https://filmmakeriq.com/courses/make-air-powered-blood-squibs/">quick history lesson</a> on blood <a href="https://en.wikipedia.org/wiki/Squib_%28explosive%29">squibs</a> and demonstrated how to make an actual air powered blood squid for gunshot special effects on a backyard movie budget.. <br />
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/5dgUVLcDLY4/0.jpg" src="https://www.youtube.com/embed/5dgUVLcDLY4?feature=player_embedded" frameborder="0" allowfullscreen></iframe><br /></div>
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(<a href="https://www.youtube.com/watch?v=5dgUVLcDLY4" rel="nofollow" target="_blank">YouTube Link</a>)</div>
Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-78745510650873954952017-07-02T09:22:00.001+10:002018-08-22T13:49:52.500+10:00Learn 15 Key Elements of Mise-en-Scène from This Handy Infographic<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Originally posted by V Renée on September 18, 2016 at <a href="http://nofilmschool.com/2016/09/learn-15-key-elements-mise-en-scene-handy-infographic" target="_blank">No Film School</a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">What the hell is mise-en-scène and why is it important to filmmaking? If you're just starting to study the craft of filmmaking you've probably come across a strange word you've never seen before: mise-en-scène. This French term, which translates to "placing on stage", is used to describe the design elements of a frame, or as one of my film professors says, "everything within the frame that makes up the frame," and she meant everything. This includes lighting, costuming, camera placement, camera angle, props, blocking, lenses, even film stock—literally everything—I mean it.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Admittedly, mise-en-scène is kind of a convoluted and overly-complicated concept to understand, but it's necessary to look at what your camera is capturing from a wider perspective. In other words, it's a concept that helps you look at the shot as a whole, not just with the cinematographic elements (lighting, camera angle, etc.), character elements (blocking, wardrobe, etc.), or set design (props, decor, etc.) alone.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">To get a better grasp on what mise-en-scène is, check out this helpful, and very detailed infographic created by Michael and Christopher of ShoHawk that details 15 of its most important concepts.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">[And for the record, it's pronounced "meez-on-sen"...or mēz ˌän ˈsen for all of you dictionary nerds.]</span><br />
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Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-54616903484663730882017-07-01T09:47:00.000+10:002017-07-01T09:47:48.242+10:00 Amateur Vs. Pro: How Differently The Same ‘Ugly’ Location Looks When Pro Photographer Shoots It<div class="post-title">
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<span style="font-size: xx-small;">First published on <a href="http://www.boredpanda.com/ugly-location-photograpy-subway-vijce/" target="_blank">Bored Panda</a> by
</span><a href="http://www.boredpanda.com/author/stellamuir/" title="Stella"><span style="font-size: xx-small;">
Stella </span></a><br />
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<span style="font-size: small;">Award-winning
art photographer Vijce is back with fresh inspiration, though it’s not
exactly the colourful work you may be used to from him. This time, the
German camera pro used a gloomy train station staircase as his main
subject, but the beauty he brought to the’ugly’ location is something we
can all learn from.</span><br />
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<span style="font-size: small;">“To be honest, I’ve captured my favourite
street photos in the ugliest of all places,” Vijce wrote in his recent
PetaPixel feature. “Sure, it’s a bit more challenging to find the
extraordinary in the ordinary… but isn’t that what street photography is
all about?” Indeed, he somehow manages to capture the industrial grit
of the station in a softer, more ‘human’ light, an effect he insists can
be achieved in any place a photographer has available to them.</span><br />
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<span style="font-size: small;">If you simply observe any length of
scenery for a while, no matter how depressing it may seem at first,
you’ll notice things that other passing by don’t see. You’ll notice
people that you would otherwise ignore. Vijce writes that this is the
key to finding unique shots in any situation, as well as experimenting
with perspective by laying down, walking around, and looking up.</span><br />
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<span style="font-size: small;">Check out the surprisingly powerful photos below, as well as a special video at the end.</span><br />
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<span style="font-size: small;">(h/t: <a href="https://petapixel.com/2017/06/28/shooting-10-powerful-street-photos-one-ugly-location/" rel="nofollow" target="_blank">PetaPixel</a>)</span></div>
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To the average photographer, this train station staircase would probably look gloomy or ‘ugly’</h3>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vicje</a></div>
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Award-winning photographer Vijce, however, saw a world of possibilities in the unusual location</h3>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vicje</a></div>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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All a photographer must do is spend time observing the location, then play with perspective</h3>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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<img height="338" src="http://static.boredpanda.com/blog/wp-content/uploads/2017/06/photographer-makes-powerful-photos-of-ugly-location-5955f92569a4a__700.jpg" width="640" /></div>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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What was once a depressing industrial atmosphere now appears more ‘human’ and ‘alive’</h3>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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<div class="attachment-link-container shareable-image-block" data-href="http://www.boredpanda.com/ugly-location-photograpy-subway-vijce/?image_id=photographer-makes-powerful-photos-of-ugly-location-5955f92c9e0ea__700.jpg" id="photographer-makes-powerful-photos-of-ugly-location-5955f92c9e0ea__700">
<img height="290" src="http://static.boredpanda.com/blog/wp-content/uploads/2017/06/photographer-makes-powerful-photos-of-ugly-location-5955f92c9e0ea__700.jpg" width="640" /></div>
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Image credits: <a href="https://eyeheartandsoul.squarespace.com/vijce" rel="nofollow" target="_blank">Vijce</a></div>
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Learn more about the compelling process below:</h3>
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Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-42388980986666523142017-06-08T18:46:00.000+10:002018-09-04T08:54:45.151+10:00Useful: a cheatsheet for critical thinking<span style="font-family: Arial, Helvetica, sans-serif;">When you encounter new information, here's a list of questions to ask yourself and others. It was produced by the <a href="https://globaldigitalcitizen.org/">Global Digital Citizen Foundation</a>, "a non-profit organisation dedicated to cultivating responsible, ethical, global citizens for a digital world."
</span><br />
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<img alt="" class="alignnone size-full wp-image-527175" height="640" src="https://i0.wp.com/media.boingboing.net/wp-content/uploads/2017/06/ultimate-critical-thinking-worksheet.jpg?resize=725%2C1007" width="460" /><br />
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<i>[<a href="http://www.relativelyinteresting.com/ultimate-cheatsheet-critical-thinking/">via</a>]</i>
Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-32994223778465238372017-06-08T18:35:00.000+10:002018-08-28T12:07:37.480+10:00A Massive 30-Part Guide to Retouching Photos in Photoshop<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://petapixel.com/author/jayphensimpson/">Originally posted on PetaPixel by Jayphen Simpson</a></span>
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<span style="font-family: Arial, Helvetica, sans-serif;">Visit the original site with links to the tutorials <a href="https://petapixel.com/2017/05/24/massive-30-part-guide-retouching-images-photoshop/" target="_blank">here:</a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br />Want a crash course in retouching photos in Photoshop? Here’s a 4-part video series that clocks in at 4.5 hours in total, making it a very comprehensive guide. There’s something here for everyone — even the most experienced photographers are sure to learn something from the series.</span> <span style="font-size: small;"><br /><br />Nathaniel Dodson from <a data-wpel-link="external" href="https://www.youtube.com/channel/UCeR7U67I2J1icV8E6Rn40vQ" rel="follow external noopener noreferrer" target="_blank">tutvid</a> goes over a total of 30 techniques from healing skin blemishes to creating skin texture, replacing skies, puppet warping, and even swapping out faces.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Photoshop is a very powerful piece of software, and it seems that no matter how long you’ve been using it for there’s always something new to learn. It’s always important to understand the tools that you’re working with, so this free series is an excellent way to boost your skill set.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br />Thankfully, Dodson has provided a full breakdown of the topics covered in the videos. We’ve included the videos below, along with timestamps matching the corresponding moment in each video.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Part One</b></span><br />
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<ol>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:28</i>: Editing ANY Photo in the Camera RAW Editor</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>07:51</i>: 8-bit vs. 16-bit Images</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>14:59</i>: Lens Correction and the Transform Tool</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>19:02</i>: White Balance and Chromatic Aberration Corrections</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>22:59</i>: Slimming a Figure with Liquify</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>30:59</i>: Healing Skin Blemishes</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>35:46</i>: Get Rid of Flyaway Hairs</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>38:35</i>: Making Simple and Complex Selections with Select Mask</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><i>47:17</i>: The Power of Adjustment Layers</span><br />
<span style="font-size: small;"><br /></span> <span style="font-size: large;"><b>Part Two</b></span></span></li>
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<ol>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:24</i>: All About Levels</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>07:59</i>: All About Curves</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>15:18</i>: Blend Modes</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>19:56</i>: Masking!</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>25:56</i>: Retouching Eyes</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>29:49</i>: Whitening Teeth</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>32:03</i>: Changing Hair Color</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>37:14</i>: Frequency Separation for Better Skin</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>44:37</i>: Creating Skin Texture to Add Detail</span></li>
</ol>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Part Three</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Bh36v-FyZkw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Bh36v-FyZkw?feature=player_embedded" width="320"></iframe></span></div>
<ol>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:00</i>: Reduce and remove wrinkles</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>02:41</i>: Getting started with the healing brush</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>06:32</i>: Dodging and Burning</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>07:58</i>: How to do the burning</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>13:00</i>: How to do the dodging</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>14:22</i>: Double dodge and burn trick</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>15:48</i>: Quick dodge/burn effect</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>18:47</i>: How to Add a Tattoo Realistically</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>23:33</i>: Masking the tattoo in place</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>27:06</i>: Using adjustments to blend the tattoo</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>30:04</i>: Blurring the tattoo to match</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>35:43</i>: Select and Replace a Sky with Luminosity/Channel Masks</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>38:38</i>: Using levels to get the perfect selection</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>42:44</i>: Replacing the sky and watching the magic happen</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>45:02</i>: Color Correction Techniques</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>45:28</i>: Curves for quick corrections</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>49:58</i>: Targeting and Changing Individual Colors</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>52:56</i>: Correcting sunburn by targeting the reds</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>54:32</i>: Four Ways to Create a Black and White Photo</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:00:03</i>: Creating a Basic Composite Image and Blending Colors</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:14:26</i>: Puppet Warp to Change a Person’s Figureo</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:00:03</i>: Creating a Basic Composite Image and Blending Colors</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:14:26</i>: Puppet Warp to Change a Person’s Figure</span></li>
</ol>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Part Four</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/dfjVHyQa5Fs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/dfjVHyQa5Fs?feature=player_embedded" width="320"></iframe></span></div>
<ol>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:00</i>: Content-Aware Everything!</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>12:42</i>: Smart Filters</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>18:04</i>: Replacing/Swapping a Face</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>25:34</i>: Smooth Wrinkles from Clothing</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>29:41</i>: Color Grading</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>34:03</i>: Colorize a Black and White Photo</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>44:34</i>: Extreme Lens Correction</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>51:55</i>: Lens Flares and Light Leaks</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>58:32</i>: Global and Selective Sharpening</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>01:05:49</i>: Cropping, Resizing and Saving Photos</span></li>
</ol>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Phew! Finish all of those and you’re well on your way to Photoshop mastery. If you manage that and are still hungry for more knowledge, check out the <a data-wpel-link="external" href="https://www.youtube.com/channel/UCeR7U67I2J1icV8E6Rn40vQ" rel="follow external noopener noreferrer" target="_blank">tutvid YouTube channel</a> — it’s worth a subscribe.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">(via <a data-wpel-link="external" href="https://www.youtube.com/channel/UCeR7U67I2J1icV8E6Rn40vQ" rel="follow external noopener noreferrer" target="_blank">tutvid</a> via <a data-wpel-link="external" href="https://fstoppers.com/education/30-photoshop-techniques-every-photographer-should-know-177677" rel="follow external noopener noreferrer" target="_blank">Fstoppers</a>)</span></div>
Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0tag:blogger.com,1999:blog-4860837368787093173.post-47828754139127193332017-06-08T18:26:00.000+10:002017-06-08T18:26:45.995+10:005-Minute Tutorial Reveals How To Make Boring Photos Look Awesome<div class="post-title">
Original posted on <a href="http://www.boredpanda.com/quick-photo-editing-tutorial-yurifineart/" target="_blank">Bored Panda</a> by <a href="http://www.boredpanda.com/author/satasandrius/" title="Andrius"> Andrius </a> </div>
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There are a tonne of bad photos online and it’s mostly because people simply can’t be bothered with editing. But as this tutorial shows, you don’t need to sink a tonne of time into a single image, all it takes is just 5 minutes!<br />
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The guy behind this tutorial is the landscape and fine art photographer <a href="http://www.yurifineart.com/?utm_source=DesignTAXI&utm_medium=DesignTAXI&utm_term=DesignTAXI&utm_content=DesignTAXI&utm_campaign=DesignTAXI" rel="nofollow" target="_blank">YuriFineart</a>, who proves that only 5 minutes spent with a raw photo can make all the difference.<br />
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Yuri explains how to utilise split toning, saturation, as well as graduated and radial filters. <br />
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And he even gives insights on the ways in which more experienced photographers edit their work, so not only the beginners could get something out of it. <br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/2EBYsAb6m0c/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/2EBYsAb6m0c?feature=player_embedded" width="320"></iframe>Jalepeno Noirhttp://www.blogger.com/profile/04801314723731156544noreply@blogger.com0