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How To Apply Scene Make Up
- Duke students: Please notify the Duke Marine Lab Enrollment Office if you would like to apply for a summer tuition scholarship. You are required to submit a letter of recommendation from academic faculty and a brief statement of purpose, i.e.
- The composition or constitution of something
- constitution: the way in which someone or something is composed
- The combination of qualities that form a person's temperament
- constitute: form or compose; "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"
- Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
- makeup: an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"
- The place where an incident in real life or fiction occurs or occurred
- A place, with the people, objects, and events in it, regarded as having a particular character or making a particular impression
- an incident (real or imaginary); "their parting was a sad scene"
- A landscape
- view: the visual percept of a region; "the most desirable feature of the park are the beautiful views"
- the place where some action occurs; "the police returned to the scene of the crime"
how to apply scene make up - Make a
Make a Scene: Crafting a Powerful Story One Scene at a Time
Scenes are essential fictional units, and if a single unit falters, then an entire novel or short story can be weakened. While there is no paint-by-numbers formula for writing powerful scenes, writers can drastically improve their manuscripts by understanding the primary components of a given scene and how to manipulate those components to create the desired amount of drama, emotion, tension, energy, and intrigue. "Make a Scene" explains the fundamentals of strong scene construction and how other essential fiction-writing techniques, such as character development, pacing, description, and transitions must function within the framework of individual scenes in order to provide substance and structure to the overall story.
Wyler wanted to make a film that appealed to all faiths in portraying faith itself as an ennobling ideal rather than a mere sectarian triumph.
Ben-Hur (1959) Director: William Wyler By Roderick Heath Ben-Hur is still by far the most dramatically nuanced, intricately constructed, and sheerly entertaining of the old-school blockbuster epics. The film’s reputation for at-all-costs size and bludgeoning bluster has always somewhat obscured what a damn well-put-together piece of moviemaking it is. It was a career highlight for William Wyler, who, after decades of refining his cinematic technique, applied his integrity and care in drawing out realism in his acting and approach to mise-en-scene to the most unlikely genre and came up trumps. The pressure was on Wyler, as MGM spared no expense on the risky production to save itself from bankruptcy; he likened the experience to working as one of the film’s galley slaves. Nonetheless, with its great cost and even greater profit, Ben-Hur represented the high-water mark of Hollywood’s efforts to combat the encroachment of television, both in terms of popular appeal, production craft, and confidence in the act of total cinematic creation. Within a decade, filmmaking looked and sounded completely different. Ben-Hur was chosen as a project by MGM executives and brought to fruition by producer Sam Zimbalist, who died during filming, because of the great success they’d had more than 30 years before with Fred Niblo’s entertaining, if comparatively cartoonish silent version, a production that had been hellishly protracted and fatal for several crew members. Wyler’s film is often considered together with Cecil B. DeMille’s The Ten Commandments (1956) for obvious reasons: both are religious-themed sagas, both star Charlton Heston, and both feature Martha Scott as his on-screen mother. Actually, the films are quite different. DeMille’s film is spectacle in the purest sense, achieved in his cheerfully two-dimensional, almost ritualised style; Ben-Hur attempts to be intimate and artful in balancing out the grander elements, and employs naif touches more carefully throughout. DeMille based his visual style on academic historical painters like Lawrence Alma-Tadema, whilst Ben-Hur’s production designers and cinematographer Robert L. Surtees obviously went to school on Renaissance Italian painters like Caravaggio and Michelangelo, whose Sistine Chapel panel “The Creation of Adam” provides the iconic backdrop for the credits. Ben-Hur was, of course, based on the novel by Lew Wallace, subtitled A Tale of the Christ, and the narrative sustains a counterpoint of the life of Jesus and its hero, a fictional Jewish prince, Judah Ben-Hur (Heston), commencing and finishing explicitly with Gospel scenes. But at the heart of Ben-Hur is a Dumas-esque tale of betrayal and revenge. The pretitle sequence, a visually striking Nativity scene, hits exactly the right momentous note, with the standard picture-book images of the Magi gathering along with sundry locals to look upon the holy family. A shepherd blows his horn to announce something incredulously wonderful in the most nondescript of forms, ringing out with curious eeriness as the Star of Bethlehem fades, leaving us momentarily with the remote, rugged landscape of ancient Judea before Miklos Rosza’s grandiose horns blare out a thrilling fanfare. And yet a stand-out quality of the film is that the first hour is chiefly a series of carefully wrought, complex, interpersonal scenes that build the drama in a mosaic of phrases and gestures. Messala (Boyd), appointed as military governor of Judea where his father had once served, returns to the land where he grew up, full of swaggering pride in gaining his appointment and overjoyed to see his youthful chum Judah again. “Close in every way!” Judah states happily when the two men bond over a little javelin target practice. But the differences enforced by time, nationality, and personal philosophy keep revealing themselves, in their first meeting and again when Messala visits Judah’s home, greeted like family by Judah’s mother Miriam (Scott) and especially his besotted sister Tirzah (Cathy O’Donnell, Wyler’s sister-in-law). For example, Messala realises he’s committed a faux pas in recounting tales of glorious Roman slaughters to Judah’s family—domestic citizens of a conquered nation. But the break doesn’t fully manifest until Messala presses Judah to give him the names of Judean patriots who dislike Roman hegemony; their rift suddenly defines itself in religious, personal, cultural, and political terms. When Tirzah accidentally knocks a tile from the roof of their house, causing the new governor to be injured, Messala grasps the opportunity to further his career and punish his former friend by having Judah, Miriam, Tirzah, and Judah’s slave accountant Simonides (Sam Jaffe) imprisoned. Judah spends the next four years chained to the oar of a Roman war galley. One of the assistant directors on this film was 30-year-old Sergio Leone. I’ve always suspected the influence of Wyler’s technique on his—that
Llewellyn W. Johns
L. W. Johns. If vicissitudes, wanderings, and adventures make up an eventful career, then the subject of this sketch has just claims to such distinction. There has not been a single year of the twenty-two that he has been a citizen of America, in which he has not passed through wonderful occurrences. Llewellyn W. Johns was born at Ponty Pridd, Glamorganshire, Wales, England, November 10, 1844. His father, William Johns, and his mother, Catherine Hopkins, were both natives of Wales, and his ancestors on the paternal side, for several generations back, had followed the profession of mining engineer, and it was but natural that Llewellyn should adopt the same calling. His father having a large family, he left the calling of engineer, and engaged in speculation, in which he amassed a fortune of ?50,000. He had enormous contracts to supply food-stuffs to the mines. In the great strike of 18.50. in the Rhonda Valley, involving forty thousand miners, he made a speech to six thousand people at the Cymmer bridge, in which he pledged himself to stand by the miners, as he did not think the reduction for digging coal just. Owing to bad debts contracted in this strike, he was never able to rally. Llewellyn was sent to school at Bath, England, to receive training as a mining engineer, in the Western Academy of that city, and after remaining there fifteen months was compelled to leave school on account of the straitened circumstances of his father. He worked at the government chain works, at Ponty Pridd, and then in the mines. His health failing, he was compelled to quit the mines, and prepared himself to become an excise officer, but failing to get the necessary nomination from his member of parliament, he was compelled to return to the mines. He worked as an ordinary miner, and at other times as a skilled engineer. As he saw nothing but hard work and poverty ahead of him, he determined to go to America. With this purpose in view he left home in his eighteenth year, went to Liverpool, and from there set sail February 26, and arrived in New York on Good Friday. He took lodgings at a boarding house on Greenwich Street, and had one dollar and a half in his pocket. The following morning found him penniless, and in a strange city, among a strange people. He walked along the streets until he came to Central Park and met a surveyor, who was laying out blocks in the city, whose name was T. H. Tomlinson. He applied to him for work, telling him that he was willing to do anything, and that he understood how to do the work of an engineer. The first day he worked without food, and so capable did he prove himself that in two days he was left in charge of the work. At the end of a week he was given permanent employment with a salary of one hundred and fifty dollars per month. He continued in this position three months, and then went to Allentown, Pennsylvania, and worked on the Lehigh Valley Railroad building bridges, and subsequently to Wilkes-barre, Pennsylvania, where he worked in the coal mines during the winter. He next went to Chicago and worked for the Lake Shore Railroad building cars. He soon after went to Omaha, Nebraska, where he arrived penniless again. The Union Pacific Railroad was then being built through that country, and he engaged to work with the bridge force, and was at Cheyenne until fall, and then went to Ogden and Salt Lake City, and remained in each place some little time. A great deal of excitement prevailed over the gold fields in Montana, and he hired himself to drive a team to Helena, in that territory, a distance of three hundred miles. There were twenty -seven teams of eight oxen each in the wagon train. Arriving at his destination there was no work to be obtained and he was again penniless. He succeeded in obtaining work, however, with an Englishman, and continued with him during the winter. In the spring of the following year he went to the Placer Mines, in the Lost Chance Gulch, and took an abandoned claim, and in a short time struck bed rock. In four months time he took out $15,000 in gold dust. At that time he formed a partnership with a saw-mill proprietor, for the purpose of building a flume, twelve miles long, and the firm put in bids for the work. Although the figures were enormously high, they secured the contract. The work was commenced at once with a large force of hands. After constructing six miles of the flume the firm failed, and were unable to proceed further, and he was again penniless. He then walked to Deer Lodge, where he met a friend who gave him three dollars, and from this point he took stage to Pioche, Nevada, and arrived there in the midst of winter, and worked in the mines throughout the season. Amassing a few hundred dollars he went to Pennsylvania in 18118, and worked in the mines and built cars for the Honeybrook Coal Company. So rapidly did he rise in their favor that in a short while he was promoted to the position of mining and mechanical engineer, continuing until
how to apply scene make up
Scene It? Harry Potter: The Complete Cinematic Journey
Scene It Harry Potter The Complete Cinematic Journey combines a cool social interactive board game with Harry Potter movie questions. Now includes images, puzzlers and questions from all 8 Harry Potter movies (including Deathly Hallows part 2) as well as movie clips from Harry Potter the first seven movies including Deathly Hallows Part 1. Includes a themed Flextime game board which enables players to choose the length of gameplay, high-quality Harry Potter themed movers, oversized dice, 120 trivia cards, 12 Buzz cards, and of course a DVD with patented Optreve technology unique to Scene It so you can play again and again without seeing the same questions. Game is meant to play with the board but put the DVD on Party mode and the fun never stops as the DVD asks all the questions.
Recommended Ages: 11 - & Up years