Archive | July, 2010

FVS Alum Joe McCasland nominated for Emmy Award

21 Jul

From the Norman Transcript:

McCasland was nominated in the Outstanding Picture Editing for Nonfiction Programming category for the editing work he did on “Whale Wars,” a documentary-style TV show on Animal Planet.

McCasland found out he’d been nominated for the episode titled “The Stuff of Nightmares.”

“It is always a little bit of a surprise (being nominated). I had no idea until one of my producers texted me at 8 in the morning,” McCasland said.

McCasland doesn’t expect to be rubbing elbows with Steve Carell or Glenn Close when he attends the Emmy Awards. The Emmy Award ceremony that McCasland will attend will be held the weekend before the main event on Aug. 29.

Q&A with Sunrise Tippeconnie

14 Jul

Our other new FVS Faculty for the 2010 and 2011 year is Sunrise Tippeconnie.  He has taught Filmmaking for the OU College of Fine Arts and at Temple University where he earned his masters degree in Film and Media Arts.  Mr. Tippeconnie will be teaching FVS 3313.900 Single Camera Production, 3810.002 Advanced Production Techniques and 3843.001 American Independent Cinema of the 80s and 90s.

1.      Where have you taught prior to teaching for FVS?

I have recently taught Filmmaking I and II in 2008 for the Fine Arts College at OU.  I have also instructed classes at Temple University for film production, screenwriting, and international cinema. Other than university environments, I have guest lectured for other classes, clubs, festivals or organizations on American Indian cinema and production lighting techniques.

2.      Where did you go to school, and what did you receive your degrees in?

I went to OU for my undergrad degree, in which I received a bachelor’s in Fine Arts, and then went to Temple University for my master’s in Film and Media Arts.

3.      Why did you choose to study and teach film?

Film has been a vocation for me, and my primary goals are to create my own film work as a contribution to American Indian cinema and help define a more specific Comanche film aesthetic. In the process of making my own works, I’ve come to learn much about various aspects of not just “film,” but literature, history, theory, politics, and art – all of which inform what I’m able to apply or accomplish as a filmmaker and technician in the industry. As a result of these experiences, fueled by my hunger to understand more about all aspects of film, I feel it’s important to teach and discuss what I’ve learned with others whom share the same hunger and love for this medium.

4.      What other interests, both academic and recreational, do you have?

I have a great interest in American history, classic literature, astronomy and paranormal studies, all of which satisfy my curiosity of how people think, resolve and express their opinions about life’s great mysteries.

5.      Tell us a little about your research and what projects and productions you have worked on in the past and are currently working on.

In terms of research, I am very interested in how American Indian’s approach their mediation, specifically in contrast with other world cultures that are able to discuss and define their mediated image. American Indians have been in a constant battle to overcome a simplistic depiction in genre Westerns, Horror and Racial Dramas, but when contemporary American Indian filmmakers draft new images of themselves they do so mainly through character and story. I feel this redrafting of image can be further supported through an American Indian aesthetic.

While I write, produce and direct shorts of my own, I also work as a technician on other films.  A specific interest of mine is to work on various American Indian filmmakers’ productions, such as Sterlin Harjo’s film’s Four Sheets to the Wind, Barking Water, and Three Little Boys,  Blackhorse Lowe’s Shimasani, Tvli Jacob and Steve Judd’s American Indian Graffitti, and the yet to be released Heather Rae produced film Magic Valley. I have also worked as a technician on other films like Michael Winterbottom’s The Killer Inside Me, Yen Tan’s Ciao, and the recently Oklahoman Brooks Douglas-produced film Heaven’s Rain.

6.      What is your favorite course to teach?

My favorite courses are usually production courses. I am always excited to see how students manage to utilize the medium through their own work, although the discussion of the work through class critique is also very stimulating and educational.

7.      What do you look forward to most in regard to teaching for FVS?

I am most interested in hearing and seeing what students have to say about the films that we study, or how they’re learning and using the medium to be more articulate about their thoughts.

8.  What are your favorite movies?

This is the hardest question, as I love too much and “favorite movies” have a tendency to change. Here are a too many of my favorites at the moment:

Zodiac (2007) David Fincher

The Journals of Knudd Rasmussen (2006) Zacharias Kunuk

Ocean’s Twelve (2004) Steven Soderbergh

Tropical Malady (2004) Apichatpong Weerasethakul

Presumed Innocent (1990) Alan J. Pakula

Metropolitan (1990) Whit Stillman

Rome, Armed to the Teeth (1976) Umberto Lenzi

The Mirror (1975) Andrei Tarkovsky

The Best Man (1964) Franklin J. Schaffner

Two Weeks In Another Town (1962) Vincent Minnelli

Goodbye Again (1961) Anatole Litvak

The Big Country (1958) William Wyler

Voyage to Italy (1954) Roberto Rossellini

Double Indemnity (1944) Billy Wilder

Rage in Heaven (1941) W.S. Van Dyke

Five Came Back (1939) John Farrow

Q&A With Dr. Meheli Sen

14 Jul

We are happy to present to you a Q&A with Dr. Meheli Sen who will be teaching for the FVS program in the 2010/2011 school year.  She comes to us from DePaul University where she has been teaching Media and Cinema Studies since 2008.  This fall she will be teaching FVS 1013 Intro to Film, FVS 2033 Writing About Film and 3833.900 Global Horror Films.

1.What are your thoughts about moving to Oklahoma?

I’ve never actually been to Oklahoma, so I’m very excited. And there appears to be a great deal of disagreement about whether OK is the South or the South West. Opinions vacillate wildly, depending on whom you speak with! So, I’m looking forward to discovering its allegiances to regional cultures; I consider myself somewhat Southern. I’m also looking forward to some excellent steak!

2.Where have you taught prior to teaching for FVS?

I have taught as a graduate student at Emory University for several years and then as the Dean’s Teaching Fellow. I’ve taught as Assistant Professor in DePaul University’s Media and Cinema Studies track from 2008-20010.

3.Where did you go to school, and what did you receive your degrees in?

I studied at Jadavpur University, Kolkata, for my undergraduate and masters degrees. My undergrad major was Comparative Literature with a minor in Film Studies. I completed my M.A. in Film Studies in 1999. Alongside the M.A., I also completed a graduate diploma in Mass Communications. I received my Ph.D. from Emory University’s Institute of the Liberal Arts with a certificate in Film Studies.

4.Why did you choose to study and teach film?

At some point during my undergrad years I discovered that I enjoyed engaging with images more than written texts. And since I already studied film as a minor, the transition seemed natural. However, my basic training in literature and textual analysis remain very much a part of how I relate to the cinema.

5.What other interests, both academic and recreational, do you have?

I’m a food-fanatic. I love cooking for crowds and eating! I also love traveling when my income allows it! I also enjoy gardening, plants and trees. Would love to have a dog someday.

6.Tell us a little about your research and what you are currently working on.

My primary research area is post-independence popular Hindi cinema, commonly referred to as ‘Bollywood’. I am especially interested in how the filmic registers of genre, gender and sexuality resonate with and negotiate specific moments in India’s troubled encounters with modernity and more recently, globalization. My work draws on my interdisciplinary training using theoretical and methodological tools offered by history, postcolonial theory, gender studies and queer theory.

Currently I am working on two book-length manuscripts and a few articles. The first book is a re-working of my Ph.D. dissertation, titled Discontented Modernities: Gender, Genre and Nation in Post-Independence Hindi Cinema. My second book is tentatively titled Bawdy Bollywood: Theorizing Hindi Horror Cinema and explores the rarely studied horror genre in Bombay cinema.

Beyond these, I am also working on several articles, including one on cinematic uses of the railways and another on the Bollywood ‘Bromance’ film.

7.What is your favorite course to teach?

Hmmm. This is a tough one because I’ve never really disliked anything I’ve taught. But if I had to pick a few, I’d say Intro to Bollywood, Global Horror and Gender/Genre in Hollywood cinema. In no particular order.

8.What do you look forward to most in regard to teaching for FVS?

I’m really looking forward to working with a new student body. I’ve heard excellent things about FVS students.

9.What are your favorite movies?

This one’s a killer! Again, in no particular order a few would include: Aparajito (1956), La Ronde (1950) October (1928), Pyaasa (1957), Mon Oncle (1958), The Postman Always Rings Twice (1946), Out of the Past (1947), Through the Olive Trees (1994), The Old Dark House (1932), Audition (1999), Late Spring (1949), Underground (1995)…

USC Short Film Needs Student Interns

8 Jul

NOODLING is a student film written and directed by Rebecca Eskreis, MFA Candidate at the University of Southern California School of Cinematic Arts in Los Angeles. NOODLING is a coming-of-age dramedy about small-town Oklahoma girl from a family of famous noodlers.

USC thesis films receive no funding from their school and thus rely on donations, grants and the volunteer efforts of friends new and old in order to bring our dreams to life. These films have been nominated for and won Academy Awards and regularly receive accolades from global film festivals, including Sundance, Cannes, South by Southwest and Tribeca.

Shoot dates are Aug. 2, 2010 through Aug. 9, 2010 in the Norman and Pauls Valley areas.

L.A. crew will be in town starting next week and we will have a crew Meet n’Greet on Tuesday, July 13 from 6:30-8pm at Blu (201 S. Crawford Norman, OK).

Students who are interested in gaining course credit for production work should contact Cassie Ketrick at cketrick@gmail.com with the subject of the email: NOODLING INTERN- your name, include your year and what areas of production interest you (i.e. wardrobe, lighting, etc.).

For more information about the film please visit www.noodlingthefilm.com.

Favorite Indie Films?

7 Jul

Check out this article by Scott Macaulay in Filmmaker Magazine.  He has compiled a list of the most important and inspiring indie films for young filmmakers and audiences.

…Are today’s young audiences inspired by the current group of independent films? Do these films resonate with them on a deep enough level to inspire their devotion to — and investment in — the practice of making films outside of the studio system? If so, what are these films? Or, is an earlier generation of films and not the current one the ones that resonate most deeply with young viewers today?

1. A Woman Under the Influence
2. All the Real Girls
3. Buffalo 66
4. Chasing Amy
5. David Holtzman’s Diary
6. Do the Right Thing (Okay, a studio film, but it should be on this list…)
7. Down by Law
8. George Washington
9. Gummo
10. Happiness
11. Husbands
12. julien donkey-boy
13. Kids
14. Killer of Sheep
15. Minnie and Moskowitz
16. Stranger than Paradise

Tell us what you think.  Let us know in the comments which indie films turn your crank, ring your bell and make you dance in your seat. Old Joy? Breathless? How about Stardust Memories or My Own Private Idaho? I’m going with Stroszek, but I have a soft spot for crazy ol’ Werner Herzog.

Congratulations to the Single-Camera Video Production Students!

2 Jul

I just wanted to give a shout-out to the great students in Eric Zeaman’s Single-Camera Video Production course, who showed their final projects today.  The shorts were creative, thoughtful, personal, and fun to watch.  It was obvious you all put a lot of thought and craft into them, and what variety:  two compelling documentaries, a poignant silent comedy, two incredibly sweet dog films (very charismatic dogs!), and one sort of indescribable one with fornicating zombies.  My goodness, it’s really true that corn syrup looks like blood on camera.  And that’s pretty much all I’m going to say about that.

Thanks, Eric, David, Taryn, Osi, Bob, Matthew, and Carter, for inviting me to your final screening today.  And congratulations, all of you, on very successful work!

–VS