In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Contenido proporcionado por Steve Hullfish, ACE, Steve Hullfish, and ACE. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Steve Hullfish, ACE, Steve Hullfish, and ACE o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
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Manage episode 435557529 series 3485936
Contenido proporcionado por Steve Hullfish, ACE, Steve Hullfish, and ACE. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Steve Hullfish, ACE, Steve Hullfish, and ACE o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
Today on Art of the cut, we speak with Emmy-nominated editor Michael Harte, ACE, about editing the Netflix docu-series, “Beckham.” He was also nominated for an ACE Eddie and a BAFTA for the series.
Harte won an Emmy, an ACE Eddie a BAFTA for his editing of the documentary “Still: A Michael J. Fox Movie.” He was also nominated for an Emmy and an ACE Eddie for his editing of the documentary “Three Identical Strangers.”
We’re going to be discussing the need to know where and how the documentary starts, the importance of archival that speaks in conversation with the interviews, and respecting the all-important power of the truth.
If you'd like to read along with the interview, check out the blog of the podcast, which includes trailers and exclusive images and more.
borisfx.com/blog/aotc
124 episodios
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Manage episode 435557529 series 3485936
Contenido proporcionado por Steve Hullfish, ACE, Steve Hullfish, and ACE. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Steve Hullfish, ACE, Steve Hullfish, and ACE o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
Today on Art of the cut, we speak with Emmy-nominated editor Michael Harte, ACE, about editing the Netflix docu-series, “Beckham.” He was also nominated for an ACE Eddie and a BAFTA for the series.
Harte won an Emmy, an ACE Eddie a BAFTA for his editing of the documentary “Still: A Michael J. Fox Movie.” He was also nominated for an Emmy and an ACE Eddie for his editing of the documentary “Three Identical Strangers.”
We’re going to be discussing the need to know where and how the documentary starts, the importance of archival that speaks in conversation with the interviews, and respecting the all-important power of the truth.
If you'd like to read along with the interview, check out the blog of the podcast, which includes trailers and exclusive images and more.
borisfx.com/blog/aotc
124 episodios
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Similar a Art of the Cut
In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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continue reading
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Determining if all these so called classic films are indeed just that.
…
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We see The Sci-Fi Christian, in all its iterations, as being about the collision between faith and nerdom. We believe that good genre fiction is about more than just entertainment. We seek to engage with the themes and philosophies behind our favorite stories, wrestling with the big ideas within speculative fiction. We’re unabashedly nerdy and unabashedly Christian. Even if your faith background differs from ours, we look forward to interacting with you at The Sci-Fi Christian!
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continue reading
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continue reading
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