The Industrial Context of Inception: From Production to Premiere

Inception ◽  
2019 ◽  
pp. 31-32
Author(s):  
David Carter
Keyword(s):  
Los Angeles ◽  
Science Fiction ◽  
Large Scale ◽  
Production History ◽  
History Of ◽  
The Uk ◽  
Industrial Context

This chapter traces the production history of Christopher Nolan's Inception (2010). Nolan first tried out his treatment for Inception with Warner Bros. after making Memento (2000), but then realised the scope that would be required for the film and decided to gain more experience making large-scale films. After completing The Dark Knight (2008), Nolan finally decided to make Inception and spent the next six months completing the script. The filming took place in six different countries and on four separate continents, the main locations being in the UK, Morocco, Canada, Tokyo, Paris, and Los Angeles. Nolan has stressed that they deliberately filmed in six different countries, building enormous sets because he was interested in 'pushing the boundaries of what could be achieved practically, as opposed to computer effects'. Concerns for realism also governed Nolan's choice of cameras and film. Inception was released on July 10, 2010, and its opening weekend gross takings made it the second-highest grossing debut for a science-fiction film that was not a sequel or remake.

Warriors of Steel: Representations of Machinery and Technology in British Heavy Metal of the 1980s

2021 ◽  
pp. 362-381
Author(s):  
A.S. Kolesnik ◽  
◽  
Keyword(s):  
Heavy Metal ◽  
Science Fiction ◽  
Cultural History ◽  
Large Scale ◽  
New Wave ◽  
Cultural Significance ◽  
History Of ◽  
The Fantastic ◽  
The Uk ◽  
And Behavior

The New Wave of British Heavy Metal is a remarkable phenomenon in British cultural history of the 1980s. Trying to identify themselves and to indicate their reaction to the social and political context in the UK, young musicians turned to the representation of fantastic worlds. The language of the “fantastic” in early British heavy metal was primarily associated with themes of mechanization, heroics, epics, mythology, fantasy and science fiction. The musical form was often emphatically epic and majestic, designed to create an audio picture to the lyrics. Visual representations — large-scale, spectacular, often theatrical live performances — played an important role in the representation of the “fantastic”. The semiotic element consisted of the signs and symbols of heavy metal (mascots, occult themes, mythological creatures, technocratic motives), which were reflected not only in the design of album covers and the metal bands names, but also in the clothes and behavior of musicians and their fans. The paper examines the specifics of the fantastic language of the New Wave of British Heavy Metal bands and, first of all, the representation of technogenic motives: how machines and robots were depicted, what techniques were used to create machine soundscapes, how this topic was played up within live performances, and finally, what cultural significance did references to machines and technology have.

scholarly journals About this title - United Kingdom Oil and Gas Fields: 50th Anniversary Commemorative Volume

10.1144/m52 ◽  
2020 ◽  
Vol 52 (1) ◽  
pp. NP.1-NP
Keyword(s):  
Oil And Gas ◽  
50Th Anniversary ◽  
Reference Source ◽  
Geological Society ◽  
Oil And Gas Fields ◽  
Production History ◽  
Exploration And Production ◽  
History Of ◽  
The Uk ◽  
Gas Fields

Geological Society Memoir 52 records the extraordinary journey of more than 50 years that has led to the development of some 458 oil and gas fields on the UK Continental Shelf (UKCS). It contains papers on almost 150 onshore and offshore fields in all of the UK's main petroliferous basins. These papers range from look-backs on some of the first-developed gas fields in the Southern North Sea, to papers on fields that have only just been brought into production or may still remain undeveloped, and includes two candidate CO2 sequestration projects.These papers are intended to provide a consistent summary of the exploration, appraisal, development and production history of each field, leading to the current subsurface understanding which is described in greater detail. As such, the Memoir will be an enduring reference source for those exploring for, developing, producing hydrocarbons and sequestering CO2 on the UKCS in the coming decades. It encapsulates the petroleum industry's deep subsurface knowledge accrued over more than 50 years of exploration and production.

scholarly journals Bringing the Battle to Britain: Band of Brothers and Television Runaway Production in the UK

2020 ◽  
Vol 17 (3) ◽  
pp. 313-333
Author(s):  
Simone Knox
Keyword(s):  
Professional Experience ◽  
Close Attention ◽  
Television Production ◽  
Tax Relief ◽  
Runaway Production ◽  
Production History ◽  
History Of ◽  
Contractual Agreements ◽  
The Uk ◽  
The Impact

This article explores the development and pre-production history of the 2001 HBO mini-series Band of Brothers. It does so via a combination of original archive research (conducted at the BFI Reuben Library) and interviews with several industry figures with relevant professional experience, including John Barclay, the current Head of Recorded Media for the UK trade union Equity, and Roger Harrop, the former director of regional film commission Herts Film Link. Using these methodologies, the article identifies Band of Brothers as the first significant US runaway television production in the UK, and uncovers how this HBO programme came to benefit from British film tax relief. Here, close attention is paid to dubious practices concerning tax policy and contractual agreements for actors, especially Damian Lewis's pay. The article demonstrates the impact Band of Brothers has had on television production in the UK in terms of providing Equity with a useful precedent when negotiating for subsequent international productions such as Game of Thrones (2011–19). Band of Brothers offers important and timely lessons to be learned, especially given the recent growth of US television runaway productions in the UK.

Policing Los Angeles

2018 ◽  
Author(s):  
Max Felker-Kantor
Keyword(s):  
Los Angeles ◽  
Residential Segregation ◽  
Mexican American ◽  
Large Scale ◽  
Police Department ◽  
Law And Order ◽  
Police Power ◽  
Police Violence ◽  
History Of ◽  
Police Abuse

When the Los Angeles neighborhood of Watts erupted in violent protest in August 1965, the uprising drew strength from decades of pent-up frustration with employment discrimination, residential segregation, and poverty. But the more immediate grievance was anger at the racist and abusive practices of the Los Angeles Police Department. Yet in the decades after Watts, the LAPD resisted all but the most limited demands for reform made by activists and residents of color, instead intensifying its power. In Policing Los Angeles, Max Felker-Kantor narrates the dynamic history of policing, anti-police abuse movements, race, and politics in Los Angeles from the 1965 Watts uprising to the 1992 Los Angeles rebellion. Using the explosions of two large-scale uprisings in Los Angeles as bookends, Felker-Kantor highlights the racism at the heart of the city's expansive police power through a range of previously unused and rare archival sources. His book is a gripping and timely account of the transformation in police power, the convergence of interests in support of law and order policies, and African American and Mexican American resistance to police violence after the Watts uprising.

A Health and Social Legacy for East London: Narratives of ‘Problem’ and ‘Solution’ around London 2012

2013 ◽  
Vol 18 (2) ◽  
pp. 144-149 ◽  
Author(s):  
Claire Thompson ◽  
Daniel Lewis ◽  
Trisha Greenhalgh ◽  
Stephanie Taylor ◽  
Steven Cummins
Keyword(s):  
Urban Policy ◽  
Large Scale ◽  
Sporting Events ◽  
Deprived Neighbourhoods ◽  
Documentary Analysis ◽  
London 2012 ◽  
The People ◽  
History Of ◽  
The Uk ◽  
Entrepreneurial Strategy

Policies and programmes that tackle neighbourhood deprivation have long been a feature of urban policy in the UK and elsewhere. Large-scale urban regeneration and neighbourhood renewal programmes have been deployed as the primary vehicle to improve the health and life chances of residents of deprived neighbourhoods. Often these areas have a long history of efforts at regeneration and redevelopment and, over time, have become labelled as ‘problem areas’ in need of constant intervention. The bid for the London 2012 Olympic and Paralympic Games was successful partly due to its promise to deliver a lasting health and social legacy by using the Games as a driver of regeneration in East London. Despite limited evidence for the effectiveness of such an approach, regeneration schemes tied to sporting events have emerged as popular strategies through which cities strive to enhance their urban fabric. Running through the core of the London 2012 bid was a discourse of East London as a ‘problem’ in need of a regeneration ‘solution’ that the Olympics uniquely could deliver. As a result, a wider narrative of East London was generated: as unhealthy; mired in poverty; desperate for jobs; with an inadequate and outdated built environment. The Olympic legacy was thus positioned as a unique once-in-a-lifetime solution ‘accelerating’ regeneration in East London, and delivering substantive change that either might not have happened, or would otherwise have taken decades. Through documentary analysis of published Government policy documents for the period 2002-2011, we demonstrate how the ‘problem’ of East London was used as political justification for London 2012. We argue that the Olympic legacy was deliberately positioned in neoliberal terms in order to justify substantial economic investment by the UK government and suit the needs of the International Olympic Committee. Finally, whilst acknowledging that regeneration may indeed result, we also speculate on the potential legacy and possible challenges for the people in East London left by this neoliberal and entrepreneurial strategy.

Materials for the history of the gospel-Baptist movement in Ukraine

1996 ◽  
pp. 4-15
Author(s):  
S. Golovaschenko ◽  
Petro Kosuha
Keyword(s):  
Large Scale ◽  
Religious Studies ◽  
Theological Seminary ◽  
National Academy Of Sciences ◽  
Evangelical Christians ◽  
Evangelical Christian ◽  
First Results ◽  
History Of ◽  
Fruitful Cooperation ◽  
Academy Of Sciences

The report is based on the first results of the study "The History of the Evangelical Christians-Baptists in Ukraine", carried out in 1994-1996 by the joint efforts of the Department of Religious Studies at the Institute of Philosophy of the National Academy of Sciences of Ukraine and the Odessa Theological Seminary of Evangelical Christian Baptists. A large-scale description and research of archival sources on the history of evangelical movements in our country gave the first experience of fruitful cooperation between secular and church researchers.

The Film World’s Cooperative Store: Institutions and Films of the 1930s and 1940s

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
World War Ii ◽  
Meat Products ◽  
Public Information ◽  
Early History ◽  
World War ◽  
International Context ◽  
German Occupation ◽  
History Of ◽  
The Uk ◽  
The Impact

This chapter traces the early history of state-sponsored informational filmmaking in Denmark, emphasising its organisation as a ‘cooperative’ of organisations and government agencies. After an account of the establishment and early development of the agency Dansk Kulturfilm in the 1930s, the chapter considers two of its earliest productions, both process films documenting the manufacture of bricks and meat products. The broader context of documentary in Denmark is fleshed out with an account of the production and reception of Poul Henningsen’s seminal film Danmark (1935), and the international context is accounted for with an overview of the development of state-supported filmmaking in the UK, Italy and Germany. Developments in the funding and output of Dansk Kulturfilm up to World War II are outlined, followed by an account of the impact of the German Occupation of Denmark on domestic informational film. The establishment of the Danish Government Film Committee or Ministeriernes Filmudvalg kick-started aprofessionalisation of state-sponsored filmmaking, and two wartime public information films are briefly analysed as examples of its early output. The chapter concludes with an account of the relations between the Danish Resistance and an emerging generation of documentarists.

Early Cinema in Scotland

2018 ◽  
Keyword(s):  
Social History ◽  
Small Towns ◽  
Early Cinema ◽  
Popular Song ◽  
Feature Film ◽  
Local Newspapers ◽  
The Social ◽  
Production History ◽  
History Of ◽  
International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

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