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dbourn : fantasy   38

Trailer for Italian Queer Fantasy film, Keystone
Il trailer di Keystone, il primo film lgbt a tematica fantasy prodotto in Italia
Si intitolerà "Keystone" e promette di essere il primo film lgbt a tematica fantasy prodotto in Italia.
Prodotto dalla Scorpion Entertainment, il film integrale sarà reso disponibile a fine novembre.
La regia
La regia e la sceneggiatura sono stati curati da Scorpione, con l'aiuto regia di Marco Vancouver Savi e l'assistenza di produzione di Muriel Di Pietro. Gli effetti speciali sono dellla Leandor Visual Design, mentre la colonna sonora originale, è del compositore Francesco Tresca.
Queer  Fantasy  Italiano  Film 
22 days ago by dbourn
Harry Potter Timeline
Most of the time, we could use the dates from Wizarding World or the Harry Potter Wiki (many thanks to the folks who help keep both of those sites updated and well sourced) to help fill in the blanks, although sometimes when their dates seemed to conflict with what was presented in the films, we had to take an educated guess. As such, it’s always possible there’s a line or visual clue we missed here and there that would alter one of our listed dates, or a minor event we forgot to include, and of course there are more Fantastic Beasts movies still to come which could — and almost certainly will – alter and add to this timeline. So take this more as a general guide than an irrefutable, all-inclusive roadmap to the Harry Potter series.
Magic  Literature  Fantasy  Fiction  Harry  Potter 
5 weeks ago by dbourn
Romics è un Festival Internazionale del Fumetto, Animazione, Cinema e Games, creato nel 2001 dal Consorzio Imprese Castelli Romani e organizzato oggi dall'associazione Isi.Urb e da Fiera di Roma, che si tiene due volte l’anno a Roma e che vede una presenza di oltre 400.000 visitatori l’anno.
Quattro giorni di kermesse ininterrotta con eventi, incontri e spettacoli: un programma ricchissimo con oltre 100 presentazioni, incontri ed eventi in 10 location in contemporanea.
5 padiglioni per immergersi in tutti i mondi della creatività, dal fumetto all’illustrazione, dalla narrativa al cinema: tutte le novità, le grandi case editrici, le fumetterie, i collezionisti, i videogiochi, i gadget e gli imperdibili incontri con autori ed editori.
Romics è il grande appuntamento per il pubblico sui linguaggi dell’immaginario, universalmente riconosciuti come media e contenuti generatori di cultura, capaci di veicolare messaggi e smuovere coscienze, grazie alla straordinaria forza evocativa – e poetica – delle immagini, delle parole e della letteratura disegnata. Questo mondo è una parte vitale dell’industria culturale dell’intrattenimento, uno spaccato del mercato dove anche l’Italia recita un ruolo da protagonista sia nei contenuti che negli interpreti.
Roma  Italy  Italian  Comics  Fantasy  Books  Film 
6 weeks ago by dbourn
New Stanford class examines the literary origins of fantastical creatures
Fantastical creatures inhabit many of today’s popular novels, films and TV series, but their origins date to texts over 1,000 years old. These ancient works of art, whose original authors are mostly unknown, were the focus of the Medieval Fantasy Literature course taught by Stanford English doctoral candidate Max Ashton.

“Today, fantasy is often seen as low culture meant to entertain, not to enlighten – to distract, not to engage,” Ashton said. “Medieval people, on the other hand, saw the fantastic and the marvelous as natural subjects of the most dignified literature.”

During the eight-week course, students read some of the oldest European medieval fantasy stories, including 10th-century Old English epic poem Beowulf as well as old Celtic and Norse texts like The Mabinogion and The Elder Edda. They also read modern works for comparison, including The Lord of the Rings, first published in 1954.
Stanford  Literature  Fantasy  Books 
august 2019 by dbourn
Are Fans Satisfied With The 'Game Of Thrones' Series Finale?
So the early seasons were about establishing these characters, establishing the relationships and establishing how brutal this world was. And the conflicts would go on for an entire season before kind of exploding at the end of each season.

In the latter seasons, it became all about plot - about moving these characters across the map as quickly as possible so they could perform certain tasks and make certain choices. So it was kind of a view from 30,000 feet.
I didn't mind the pace picking up toward the end. But the thing that happened is you can feel it in the bones of the show because at a certain point, they ran out of books to adapt. And they had to kind of make it up, or at least follow the outline that George R.R. Martin provided for them. The problem is it feels like they're ticking boxes following an outline. So a lot of the character beats, a lot of the relationships kind of fall by the wayside.

That's fine as far as it goes, except in a case as happened this past season. And no spoilers, but there is a character who has to make a choice that has to feel to us surprising and inevitable, like surprising in the moment, but then when we think back on it, we go, oh, that's what that character would've done. That is a very tough narrative fictional needle to thread - the toughest one to thread. And they didn't do it for me because I just didn't buy that this character would do the thing that they did.
Game  of  Thrones  Television  Fantasy  Narratology  Story  Telling 
may 2019 by dbourn
‘Game of Thrones’ Needed to Earn Daenerys’ Decision; It Failed
Sometimes it’s good for a character to be enigmatic and leave viewers guessing, but Daenerys is not that character. She’s not some unknowable being. She’s a queen fighting to take the throne. However, her actions have been at cross-purposes so there’s no clear descent into madness or build up to her actions in “The Bells.” The Daenerys of previous seasons was in a heroic mold. She could be brutal against her enemies, but she had an affinity for the downtrodden.
At some point, showrunners D.B. Weiss and David Benioff made the decision that the dramatic tension of Daenery’s character should be based around unpredictability.
That may be great for dramatic tension, but it’s horrible for character development; it says that what you’ve done is create someone who doesn’t have a core set of values as much as they have a 50/50 shot of behaving one of two opposite behaviors. Everything this character has been through gets tossed out the window in favor of random chance. Maybe you could get away with that if we had never met Daenerys Targaryen before. It doesn’t work when have eight seasons of spending time with the character and knowing how she relates to other people.
You can see in “The Bells” how the writers are straining to explain Daenerys’ eventual choice. Her close advisors Missandei and Jorah are dead. Varys and Jon have betrayed her. But if this loss and betrayal was supposed to transform her, then we needed to see that transformation, not have it be two episodes after she was willing to risk her life for the fate for the world in “The Long Night.”
But even then, you have to get Daenerys to a place where she would willingly murder thousands of people after she’s won. That’s the kicker in “The Bells.” If the show had played it differently where Daenerys gets impatient for the bells and starts destroying things before the bells have had a chance to ring, that would have worked because it would speak to her impatience and being so close to her goal that she can’t risk losing it. It would also add an air of tragedy–that if she had just waited a few more moments, lives could have been spared, but she was so concerned with herself, she didn’t want to wait. While still a rushed conclusion, it would at least have a reasonable motivation to it. But she’s won! She knows she’s won! And she chooses to murder thousands of innocent people for no reason!
One can make the argument that the show has always been headed here. You can say Daenerys burns people all the time, and that’s true. However, she burns people who have wronged her. She’s reactive, and her vengeance is swift, but she doesn’t just kill people for no reason. Yet her reasoning for burning thousands of people to death in a battle she’s already won is suddenly, “I guess I need to rule by fear because my BFFs are dead.” That makes no sense! Cersei is a character who I absolutely believe would kills thousands of innocents to achieve her goals. When Cersei blew up the Great Sept of Baelor, no one questioned it because we knew she was ruthless and didn’t care about killing innocent people. But for Daenerys, there’s a sizable gap between burning your enemies and burning thousands of innocent people in a battle you’ve already won.
Given all of this, it looks like Weiss and Benioff attached themselves to two ideas to close out the series. First, that Daenerys, as a Targaryen, walks a thin line between greatness and madness even though her “madness” seems only to have emerged late in the game and for flimsy reasons of isolation. Second, that those who are perceived as heroes are capable of great atrocities in their quest for power, which would work except toasting all your subjects when you’ve already won the battle is nonsensical and would require levels of madness that are clear and unambiguous. These two ideas do not work together because one is built on not knowing which way Daenerys will go, and the other is built on sending her on a path so clear that the evidence for it is insurmountable.
Given more time, we could see how greatness morphs into madness and no notices or comments because they’re attached to an ideal or they’re willing to ignore clear warning signs (like executing innocents as opposed to people who have tried to kill you or enslave you). There is a way to get to Daenerys, flying high above King’s Landing, deciding to burn the whole thing down even though she’s already victorious. But “The Bells” didn’t get there. It wasn’t even close.
Television  Fantasy  Game  of  Thrones  Narratology  Story-telling 
may 2019 by dbourn
Less Blabbing, More Stabbing: How Spectacle Won ‘Game of Thrones’
Rewatch the earliest episodes, from 2011, and they already seem to belong to another era. It’s how much of the series was simply people talking, how it was able to draw import from relatively small incidents. The second episode, “The Kingsroad,” for instance, focuses its main story line on nothing more high-stakes than the death of a child’s pet.
The Starks, journeying to the capital where Ned (Sean Bean) will serve King Robert (Mark Addy), have recently come into possession of a litter of orphan direwolves. Along the way, the crown prince, Joffrey (Jack Gleeson), bullies Arya’s friend, the butcher boy’s son, holding him at sword point. Arya’s wolf, Nymeria, mauls Joffrey (no jury would convict her). After Arya scares Nymeria off, Ned is forced to execute Lady, the wolf belonging to his daughter Sansa (Sophie Turner), in her stead, to keep peace between the families.
That’s it. Roll credits. No magic, no dragonfire. But so much character and foreshadowing are concentrated in this high-fantasy “Old Yeller.” It establishes, in one sword-stroke, that Robert, pushed by Cersei and his bratty son, is weak and inconstant; that the Stark children will become unmoored from their roots (the direwolf is the symbol of the North, and this is the first of several lupicides to come); that Joffrey is a dangerous monster; that the Starks will pay a high cost, principles will be tested and the innocent will die.
The recent 20th anniversary of “The Sopranos” reminded us of a tension that series always had, between its creator, David Chase, who insisted that relationships were as important to the series as the mob wars, and his more bloodthirsty fans, who wanted, as the phrase went, “Less yakking, more whacking.”

“Game of Thrones” has had that tension itself over the years. But unlike Chase, who stubbornly stuck to his vision, “Thrones” has increasingly given into the fan contingent that wants more big action moments. Less blabbing, more stabbing!

In a way, the evolution of “Game of Thrones” over the seasons shows how it bridged the distance between two eras of TV. It began, in 2011, in the wake of HBO’s “Sopranos” era, which took familiar genres (the gangster saga, the cop show, the Western) and set them in worlds of moral grayness and complexity.
But over time, “Thrones” evolved into an example of the next age of TV drama. Yet the scenes that stick with me from “Game of Thrones” are almost invariably conversations.
Storytelling  Narratology  Game  of  Thrones  Television  Fantasy 
april 2019 by dbourn
[no title]
In George RR Martin's view, he’s rebelling against standard fantasy tropes. He doesn’t play nice, and one of the aspects that hooked viewers was how Game of Thrones could be unexpected. It could kill a main character in Ned Stark. It could kill heroic characters like Robb and Catelyn Stark. Game of Thrones knew the rules of the fantasy genre, so it knew how to break them.

But it became painfully clear with “The Long Night” that Benioff and Weiss don’t have the stomach for upending fantasy tropes and really challenging their audience. “The Long Night” chickened out, dealing away a handful of minor characters, a couple majors, and making sure that the deaths were heroic instead of random and unfair.

Slaughtering characters wholesale doesn’t inherently make a show good, but what Game of Thrones used to understand is that random death made this world dangerous and unpredictable. It took us away from a standard fantasy tome and made the story feel fresh and new. But when it came time for Benioff and Weiss to show that life in Westeros is unfair and sometimes heroes die unglamorous deaths, they couldn’t do it.
Storytelling  Narratology  Game  of  Thrones  Television  Fantasy 
april 2019 by dbourn
Nature's Reclamation / Gandalf Escapes Isengard
NATURE'S RECLAMATION, a theme for Nature, is music that spans events in the movies. Quiet as a moth, determined as angry Ents, it "represents Nature's resistance of encroaching evil" (Doug Adams, CR--FOTR liner notes, page 32).

The official title in the liner notes is 'Nature's Reclamation' but I will continue to use just 'Nature Theme'. Doug Adams maintains that, in Tolkien's world, Nature is a culture alongside of the Elves, Dwarves or Men. He also notes that the simple, pure melody of the Moth music is a 'antidote to the industrial beating of Isengard'.
Music  Lord  of  the  Rings  Fantasy 
january 2019 by dbourn
Bartholomeus Anglicus, ‘Livre des propriétés des choses’

Bartholomeus Anglicus, ‘Livre des propriétés des choses’ (‘De proprietatibus rerum’, French translation of Jean Corbechon), Bruges ca. 1470

BnF, Français 134, fol. 169r
Books  Art  Painting  Illuminated  Manuscripts  Astronomy  Fantasy  Medieval 
october 2018 by dbourn
Hector de Gregorio
I always find it rather difficult to describe my own work because it combines a barrage of styles both technically and stylistically. Photography, painting, digital imaging, and craft are riddled together to produce images the are at once approachable and cryptic, alluring and unsettling, antique and contemporary.

The inspiration feeds from visual popular languages such as medieval market storytellers, tarot cards, illustration, cartoon strips, devotional art, or advertising — for they contain a synthesis of narrative and visual impact.

I like to create a visually simple and attractive composition to draw the viewer in at first glance and then introduce a character or narrative. The characters I present are embodiments of their own mythology, baring the attributes or immersed in a fragment of their own story. They are, so to speak, "mythological portraits" of the sitter, as the work is — sometimes literally — tailored to the person am working with. I also make the costumes for the image when required, for they are visualizations of aspects of the sitters themselves that get represented but NOT exposed.

I was raised in a family of tailors and often babysat in a nunnery. Being a custodian of the relics and "wardrobe" (antique handmade attire) for the saints' sculptures, I soon picked up a sense of awe and fetish towards theater, costume, and mythology. I immersed myself in an imaginary world, both real and fantastical.

This bewildering and exquisite combination of materially representing abstract expressions of the "soul" led me to explore the idea of mythological experience as a real thing, a way to represent figuratively abstract but felt-experienced concepts like impermanence, eternity, love's energy, the space behind a mask…
On Facebook:
Hector  de  Gregorio  Queer  Bears  London  Painting  Arts  Photography  Fantasy 
april 2018 by dbourn
Il signore degli archivi, la dimensione archivistica nell'universo letterario di J.R.R. Tolkien
Se, nell'economia della finzione letteraria, un ruolo preponderante nella trasmissione di questo contesto storico è dato da Tolkien alla poesia, ai canti e alle “fonti orali” che costellano tutti i suoi testi, ognuno dei popoli della Terra di Mezzo viene dotato anche di archivi, annali e records che spesso descrivono il susseguirsi di regnanti, battaglie, matrimoni e eventi naturali come vere fonti storiche.

In particolare gli archivi nel mondo tolkieniano si possono ricondurre a due dimensioni differenti: archivi di contesto e archivi del racconto.
Archives  Literature  Fantasy  Magic  JRR  Tolkien  Italian 
december 2017 by dbourn
Lucca Comics & Games
Lucca Comics & Games è il principale festival europeo dedicato al fumetto, ai giochi, al cinema e videogiochi.

Cross media show per eccellenza che dal 1966 celebra la cultura pop.

Con quasi 500.000 visitatori complessivi, oltre 40.000 mq di spazio espositivo, 20 mostre, più di 500 eventi tra incontri con autori ed editori, spettacoli e concerti, è un appuntamento imperdibile per gli appassionati di tutti i mondi del possibile.

Lucca Comics & Games si svolge nel centro storico dell’antica città di Lucca, una deliziosa città ricca di arte e storia nel cuore della Toscana.
Lucca  Italy  Italian  Comics  Games  Fantasy  Horror 
november 2017 by dbourn
Carl Brandon Society on Facebook
See also:
The Carl Brandon Society is an international nonprofit organization dedicated to diversity in the speculative fiction genres.The mission of the Carl Brandon Society is to increase racial and ethnic diversity in the production of and audience for speculative fiction.

We envision a world in which speculative fiction, about complex and diverse cultures from writers of all backgrounds, is used to understand the present and model possible futures; and where people of color are full citizens in the community of imagination and progress.

We Value
* Fantasizing for its own sake, and as an agent of social innovation
* Literature as a groundspring for social change
* Creative Innovation in the field of speculative fiction
* Inclusive Definitions of both genre and audiences
* A culture of Listening to people of all abilities, genders, and backgrounds, in all fields of endeavor
* National and international community-building around areas of interest
Carl  Brandon  Carl  Brandon  Society  Afrofuturism  Science  Fiction  Horror  Fantasy 
july 2016 by dbourn
What to do when you're not the hero any more
Only a story. Only the things we tell to keep out the darkness. Only the myths and fables that save us from despair, to establish power and destroy it, to teach each other how to be good, to describe the limits of desire, to keep us breathing and fighting and yearning and striving when it'd be so much easier to give in. Only the constitutive ingredients of every human society since the Stone age. We're learning, as a culture, that heroes aren't always white guys, that life and love and villainy and victory might look a little different depending on who's telling it. That's a good thing. It's not easy - but nobody ever said that changing the world was going to be easy.
Whites  Film  Fantasy  Afrofuturism  Science  Fiction.  Narratology  Storytelling  Star  Wars  Harry  Potter  Blacks 
january 2016 by dbourn

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