Classic artwork
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We have artist and designer sections with info on more than 13,000 posters. Check out the great work by Drew Struzan, Saul Bass and Luigi Martinati, for example.If you are an artist or design company and want to be listed on CineMaterial don’t hesitate to contact us!
Film graphic
Mina is also keen to champion keeping an open mind when it comes to choosing a career path. “It was only through doing an art foundation course that I learnt about theatre design, which is why I think foundation courses are really important for art students. It helps you explore things you might not have known about yourself and all of these new discoveries might lead to a path you’d never imagined.”
“My first job in the UK was work experience on the second Harry Potter film,” says Lima. “Then one week quickly became two, then three, then four, ending in me working for three months on the second film, then full-time from the third Harry Potter movie.”
Atkins says that half-way through production, Wes Anderson contacted her department. There was a spelling mistake in the word “patisserie” on the pink and blue Mendl’s boxes. And these boxes play a major role in the film. Because every one of the 2000 boxes had been painted by hand and had already been used in filming, there was no way to start over or to physically fix the mistake. “It was something that had to be fixed in post-production,” Atkins says. “That’s a lengthy process when you’re fixing 25 frames per second, and it’s quite costly.”
Mina is also keen to champion keeping an open mind when it comes to choosing a career path. “It was only through doing an art foundation course that I learnt about theatre design, which is why I think foundation courses are really important for art students. It helps you explore things you might not have known about yourself and all of these new discoveries might lead to a path you’d never imagined.”
“My first job in the UK was work experience on the second Harry Potter film,” says Lima. “Then one week quickly became two, then three, then four, ending in me working for three months on the second film, then full-time from the third Harry Potter movie.”
Empire of the Sun artwork
Conflict, Time, Photography is curated at Tate Modern by Simon Baker, Curator of Photography and International Art, with Shoair Mavlian, Assistant Curator, and Professor David Mellor, University of Sussex. It is organised by Tate Modern in association with the Museum Folkwang, Essen and the Staatliche Kunstsammlungen, Dresden, where it will tour in spring and summer 2015 respectively. The exhibition is also accompanied by a fully-illustrated catalogue from Tate Publishing and a programme of talks, events and film screenings at Tate Modern.
“This is one of the first episodes of mass tourism in the history of the world,” explains Baker. “There were 300 million postcards sent from the western front, for instance by people visiting the places where their relatives had died. And the photographers had to make these incredible compromises: making photographs of places that weren’t there anymore.”
Researching her series, Dewe Mathews worked closely with academics to locate the forgotten places along the western front where these unfortunate combatants had been shot. She then travelled to each spot and set up her camera there at dawn, recording whatever could be seen a century after the executions had taken place.