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Speaking to the 1990s setting of Captain Marvel, "the MCU's first full period piece since Phase One's Captain America: The First Avenger in 2011", Richard Newby of The Hollywood Reporter felt the return of younger versions of some characters introduced and killed in earlier films "open[ed] up the MCU in a whole new way and broaden[ed] the franchise's mantra of 'it's all connected'". Speaking specifically to Clark Gregg's appearance as Agent Phil Coulson in the film, Newby noted the appearance "doesn't exactly mend fences between Marvel's film and TV divisions, [but] it does strengthen the connective tissue and the sense that these characters still matter in the grand scheme of Marvel's film plans". He also hoped that continuity from Agents of S.H.I.E.L.D. would be maintained in Captain Marvel, especially since Coulson has dealt with the Kree in the series. Newby also added that shifting to different time periods would help Marvel Studios "sustain this cinematic universe for the next 10 years" by allowing them to repeat some of the genres previously used, as they could then feel "fresh" and have "different rules and different restraints", as well as allow them to build upon material established in the television series such as Agent Carter. He concluded,

Discussing the apparent failure of the cinematic universe's first team-up film, Batman v Superman: Dawn of Justice (2016), to establish a successful equivalent to the MCU, Emily VanDerWerff noted that where the MCU has a television-like "showrunner" in Feige, "the visionary behind Marvel's entire slate", the DCEU has director Zack Snyder, whose DC films "seemingly start from the assumption that people have come not to see an individual story but a long series of teases for other ones. It's like he knows what he needs to do but can't focus on the task at hand. TV certainly isn't immune to that problem, but shows that get caught up in high-concept premises and big-picture thinking before doing the necessary legwork to establish characters and their relationships tend to be canceled."[344] Subsequently, in May 2016, Warner Bros. gave oversight of the DCEU to Johns and executive Jon Berg in an attempt to "unify the disparate elements of the DC movies" and emulate Marvel's success. The two were made producers on the Justice League films, on top of Johns' involvement in several "solo" films, such as the post-production process of Suicide Squad (2016) or the writing process of a standalone Batman film.[374] After the successful release of Wonder Woman in June 2017, DC decided to begin deemphasizing the shared nature of their films, with DC Entertainment president Diane Nelson stating, "Our intention, certainly, moving forward is using the continuity to help make sure nothing is diverging in a way that doesn't make sense, but there's no insistence upon an overall story line or interconnectivity in that universe... Moving forward, you'll see the DC movie universe being a universe, but one that comes from the heart of the filmmaker who's creating them." Additionally, DC began focusing on films "completely separate from everything else, set entirely outside" the DCEU as part of a new label, with the first film centered on the Joker.[375] In August 2022, Warner Bros. Discovery CEO David Zaslav announced a 10-year plan for the DC Extended Universe similar to the one that Horn and Iger employed with Feige for the MCU,[376] with James Gunn and Peter Safran appointed in October 2022 to serve as the co-chairmen and co-CEOs of the newly formed DC Studios to develop a new DC shared universe,[94] the first content for which was announced in January 2023.[377]

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On March 18, 2014, ABC aired a one-hour television special titled Marvel Studios: Assembling a Universe, which documented the history of Marvel Studios and the development of the Marvel Cinematic Universe and included exclusive interviews and behind-the-scenes footage from all of the films, One-Shots, and Agents of S.H.I.E.L.D., and sneak peeks of Avengers: Age of Ultron, Captain America: The Winter Soldier, Guardians of the Galaxy, unaired episodes of Agents of S.H.I.E.L.D.,[441] and Ant-Man.[442] Brian Lowry of Variety felt the special, "contains a pretty interesting business and creative story. While it might all make sense in hindsight, there was appreciable audacity in Marvel's plan to release five loosely connected movies from the same hero-filled world, beginning with the cinematically unproven Iron Man and culminating with superhero team The Avengers. As such, this fast-moving hour qualifies as more than just a cut-and-paste job from electronic press kits, although there's an element of that, certainly."[443] The special was released on September 9, 2014, on the home media for Agents of S.H.I.E.L.D. season 1.[444]

(of a movie) showing a high level of artistry; grand and visually impressive: This film is filled with sweeping, cinematic shots of the surrounding countryside, to the point where the setting almost becomes a third character.

having qualities or using techniques associated with good movies, such as drama, emotional intensity, visual or sonic artistry, epic narrative, etc.: Poetic and strikingly cinematic, her exquisitely written novel illuminates the strange tightrope we are all walking in the radically altered landscape post-9/11.

(in a video game) a short video or scripted event scene between stages of interactive play, often to introduce a new level, develop a character, or advance the plot: This year's NHL game has a lot of the same animations, cinematics between faceoffs, commentary tracks, and graphics.

Students are encouraged to develop their unique voices working within a variety of cinematic forms, including fiction, documentary, experimental, interactive cinema, and animation. Through our community partnerships they are provided with opportunities for social engagement and high-profile exhibition of their work.

This degree aims to provide students with an aesthetic and technical foundation in cinematic production including scripted narrative movies, single-camera television series, cinematic documentary, web-based platform series, and short film. Studies will be grounded in contemporary industry practices with an emphasis on the systems and ecological nature of cinema production. In addition to hands-on training, students will engage with visual theory, cinema history and seminal films, global trends, and networks/platforms of distribution in order to develop an understanding of their own, emerging voice within the field of cinema.

In each cinematic arts program, faculty bring years of industry experience to the classroom, guiding their students to become difference makers in television and film. Once students have completed the program, they have access to our network of alumni who have risen to positions of authority in the entertainment industry, where they can help us place interns and recommend our top graduates for jobs in their organizations.

The Suraj Israni Center for Cinematic Arts promotes research, scholarship, teaching, production, and exhibition of film and moving-image arts, providing access and opportunity for UC San Diego students and scholars to pursue their passion in cinematics arts.

The Suraj Israni Center for Cinematic Arts aims to provide access and opportunity for UC San Diego students and scholars to pursue their passion in cinematics arts, a field that has grown to include a range of media forms: film, video art, animation, virtual environments, and global and transnational cinemas.

CTPR 290 introduces the interrelationship of visuals, sound and editing in cinematic communication. Students participate in directing and producing workshops as well as individual and group projects. Approximately $1,000 should be budgeted for miscellaneous expenses, lab and insurance fees.

Enables real-time photorealistic 3D visualization of cinematic rendering in augmented reality. By combining our Cinematic Rendering technology with Microsoft HoloLens 2, mixed reality holograms can be blend with the real medical world.

Cinematic Rendering speeds up and improves the understanding of complex anatomical situations. It enhances preoperative and intraoperative decision making.

Cinematic Rendering was tested as a prototype in an evaluation study at the Department of Surgery at the University Hospital Erlangen, Germany. The group compared the ability of surgeons to choose the best operating strategy by clearly presenting the relative position of tumor tissue and blood vessels prior to operating. The researchers found that cinematic rendered CT images allowed clinicians to understand patient anatomy more quickly and with a greater degree of accuracy than conventional CT. It enabled the surgeons to complete the task with higher accuracy in roughly half the amount of time and suggest the technique also benefit surgical planning and decision-making.

The cinematic arts major teaches you to merge critical thinking, film theory, and imagination into production. Students choose from among three concentrations that prepare them for a wide variety of jobs, ranging from commercial filmmaking to recording rock bands, from crafting 3D animation and special effects to shooting documentaries in third-world countries.

George Fox cinematic arts students travel to the Sundance Film Festival in Park City, Utah, to screen films and learn about contemporary independent filmmaking from some of the world's top industry artists and experts. While at Sundance, students also participate in events such as the Windrider Forum, an event organized by Fuller Theological Seminary that integrates themes and questions of faith with film.

My time as a cinematic arts major at George Fox was a truly enriching experience. My professors were extremely knowledgeable, encouraging, and made me feel prepared to work in the industry. The program is full of passion that intertwines with a desire to bring honor to God through our creation of art. We were encouraged to use the creativity that we were blessed with and share it with those around us. 9af72c28ce