Artists, especially those who deal in something other than words, tend not to be articulate about their own work. They don't know why they do things, or when they do, their reasons come off more as justifications after the fact than, well, reasons. None of this makes them any less the artist; it just highlights the difference between creating art and thinking critically about it.

We can also providea limited number of copies of archive material. There are charges for copying in line with prices charged across Library Services. If you’re looking for some real insight into the making of these films there are documentaries on the blu rays for them that are barely even 10 minutes long which go into far more depth than this book does. This study explores the notion of translaboration in the context of audiovisual translation using StanleyFrom production to performances and comedy to collaborations: Nahal Ashrafi wants to explore it all We can arrange teaching sessions for UAL student groups and their tutors. Our experienced staff can introduce you to our archives and collections, sharing information and explaining how you can use them in your practice or research.

CSM Graphic Communication Design alumni and art director Kyle Harman-Turner on the potential of football to bring global warming awareness The people that were assigned to write about each film injected their own thoughts into their respective sections. Thoughts I could not have cared less to hear about, thoughts which are stated as fact that I flat out disagree with. The writing style of a Wikipedia article would be much preferred over what this ended up being. UAL Enterprising Alumni Network Event: Purpose-driven and social enterprise from UAL Alumni - Meet the Speakers In conversation with Chelsea College of Arts, MA Curating and Collections 2020 graduate and ‘In Transit’ founder Celina Loh

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Each film has a central essay detailing from its conception to its release, so I was anticipating the one for 2001, only to disappointingly find out that it's the only one that breaks away from the format, and is composed of timelines and disparate essays on different elements of the film instead. We can provide copies of archive materials for commercial reproduction such as in books, magazines etc. And Category B) is clearly interested in watching it if they’re reading about behind the scenes of a film they’ve never seen, so they could really do without your shitty overlong summary spoiling it for them. There's a fee to cover the administration of the copying and contribute to collection care. We'll tell you the charge when you make your selection.

translation, pointing to the specificity of a collaborative interaction in which one participant holds ultimate authority. of the writing in this book is dedicated to describing the story of each of his films scene-by-scene. I’m not sure who this is for as the only two categories of people who could possibly be reading this book have A) already seen the films or B) not seen the films.

Interviews with Kubrick's friends and family