WHAT IS A RE-EDITED FILM? (In the Entertainment industry.)

Re Edited / Photo Credit: Paul Anderson – Change.org - Resident Evil

WHAT IS A RE-EDITED FILM? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is a Re-edited film?

On its most fundamental level, film editing is the art, technique, and practice of assembling shots into a coherent sequence. The job of an editor isn't simply to mechanically put pieces of a film together, cut off film slates, or edit dialogue scenes.

A re-edited film is a film that has been modified from its original theatrical release. These films are typically preceded by the disclaimer, "This film has been modified from its original version. It has been formatted to fit this screen and edited for content." Reasons for this type of editing may range from the distributor's demands to accommodating different audience groups. Fan-made movie edits are often met with controversy, as they bring up issues of copyright law.

There are three main types of film editing: format, length, and content.

Format: Feature films are commonly produced in a widescreen 1.85:1 aspect ratio or 2.40:1 aspect ratio. which is different from the screen formats television currently has – A standard 1.33:1 (or 4:3) aspect ratio of analog television and the growing standard of 1.77:1 (or 16:9) aspect ratio for digital television. Prior to the beginning of a film presented in the 4:3 aspect ratio on VHS tapes or DVDs, a disclaimer appears (mainly a black background), reading, this film has been modified from its original version. It has been formatted to fit this screen. Since the adoption of HD television, some theatrical films intended for 2.39 or 2.40 aspect ratios have been reframed for 1.78 (16x9) for television and home video, and also require the modification warning as per DGA rules.

Length: Films may be shortened for television broadcasting or for use on airlines. DVD releases of films may also contain longer cuts. In a growing trend, more and more films are being released in an Unrated cut of the film. Prior to when TV airings of the film begins, a format screen appears reading, "The following film has been modified from its original version. It has been formatted to fit this screen, to run in the time allotted and edited for content" (see below). The end credits on TV airings of films sometimes speed up to make time for the next show or film to start, or to free up more airtime for advertisements, which has become an increasingly-common practice.

Content: Some films have content deemed "objectionable" to "family audiences": sexual content, obscene language, graphic violence, and perceived racial insensitivity. To make these films suitable for younger or more typical audiences, or to appeal to advertisers when a film is shown on basic cable or broadcast TV, alternative versions are created with such content removed or replaced. Often, profanities are replaced with minced oaths. The editing of these versions is performed by a censor and not the producer or director of the work. In addition, a film is often times edited if it receives the NC-17 (No one 17 and under admitted) rating from the MPAA, as NC-17 rated films are not screened at mainstream cinemas or advertised on television. Therefore, studios will often re-edit the film to achieve an R rating instead.

Re-editing techniques

There are two main techniques for re-editing films:

Manual re-editing

Purchased film content is downloaded onto an editing work station hard drive and third-party editors manually re-edit the video and audio tracks, removing objectionable content. The re-edited version is then copied onto media (VHS or DVD) and made available for rental or purchase provided an original version has been purchased in correlation with the re-edited copy. Some manual re-edits are done by fans (see The Phantom Edit) to cut a film to their own – or their peers – specifications.

Although the recent court ruling prohibits business from manually re-editing commercial films, the law still allows for individuals to self-censor and edit their own films for personal use.

Programmed re-editing

Programmed re-editing occurs when software (such as that employed in a DVD player) is used to skip portions of the video and/or audio content on-the-fly according to pre-programmed instruction sets which are knowingly used by the consumer.

Opening disclaimers

In any case, theatrical films that aired on television in the 1970s and most of the 1980s would simply have an "Edited for Television" disclaimer superimposed right after the opening credits, or, in a few cases, superimposed over the movie title card itself, just below the title. However, today, when a theatrical film or television special is aired on network or syndicated television or is re-issued on video in a form different from its original version, variations of the following disclaimers appear:

"This film has been modified from its original version. It has been formatted to fit this screen."

"The following film has been modified from its original version. It has been formatted to fit this screen."

"This film has been modified as follows from its original version: It has been formatted to fit your screen."

Depending on content and time, the disclaimer will add: "...to run in the time allotted and for content." or "...and to run in the time allotted." or "...and edited for content."

Disney films prepared for television by Disney-ABC Domestic Television and other select TV stations will have: "This film has been edited for television", or "This film has been modified from its original version. It has been edited for television and formatted to fit this screen."

Many DVD releases that contain versions of films different from the theatrical releases, such as Universal Studios Home Video's Legend director's cut DVD will have: "This film has been modified from its original version to include additional material not in the original release."

In the instance of black-and-white films that have been colorized, there will often be a disclaimer such as the following: "This is a colorized version of a film originally marketed and distributed to the public in black and white. It has been altered without the participation of the principal director, screenwriter, and other creators of the original film."

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism, Prashant Gupta

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Re Edited / Photo Credit: Paul Anderson – Change.org - Resident Evil

WHAT DOES AN EXTENDED VERSION/CUT OF A MOVIE MEAN? (In the Entertainment industry.)

Extended Version / Photo Credit: Warner Bros. Home Entertainment

WHAT DOES AN EXTENDED VERSION/CUT OF A MOVIE MEAN? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

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What does an Extended Version/Cut of a movie mean?

Extended Version/Cut of a Movie

The theatrical version of a movie is the version of the movie as was released to movie theaters. ... Such scenes are generally end up in the movie's DVD release resulting in an extended version of the movie. It has more scenes than the theatrical version and generally runs longer.

The Theatrical Cut is the version of the film that was shown at cinemas. The Director's Cut is the version edited by the Director, usually for additional home media releases. An Extended Cut is usually any version of the film which is longer than the theatrical cut (though in very rare cases, its shorter).

Extended cuts and special editions

Some directors explicitly dislike the phrase "director's cut" because it implies that they disapprove of the theatrically released cut. James Cameron and Peter Jackson are two directors who publicly reject the label, preferring "extended edition" or "special edition". While Jackson considers the theatrical releases of the Lord of the Rings and Hobbit trilogies to be a final "director's cut" within the constraints of theatrical exhibition, the extended cuts were produced so that fans of the material could see nearly all of the scenes shot for the script to develop more of J. R. R. Tolkien's world but that were originally cut for running time or other reasons. New music and special effects were also added to the cuts. Cameron specified "what I put into theaters is the Director's cut. Nothing was cut that I didn't want cut. All the extra scenes we've added back in are just a bonus for the fans." (though referring specifically to Avatar, he has expressed similar feelings on all of his films besides Piranha II: The Spawning).

Special editions such as George Lucas's Star Wars films, and Steven Spielberg's E.T. the Extra-Terrestrial, in which special effects are redone in addition to a new edit, have also caused controversy. (See Changes in Star Wars re-releases and E.T. the Extra-Terrestrial: The 20th Anniversary).

Extended or special editions can also apply to films that have been extended for television or cut out to fill time slots and long advertisement breaks, against the explicit wishes of the director, such as the TV versions of Dune (1984), The Warriors (1979), Superman (1978) and the Harry Potter films.

Batman v Superman: Dawn of Justice − Was released (March 25, 2016), An extended cut dubbed the "Ultimate Edition", which features 31 minutes of additional footage, was released digitally on June 28, 2016, and on Blu-ray on July 19, 2016.

The film Caligula exists in at least 10 different officially released versions, ranging from a sub-90-minute television edit version of TV-14 (later TVMA) for cable television to an unrated full pornographic version exceeding 3.5 hours. This is believed to be the most distinct versions of a single film. Among major studio films, the record is believed to be held by Blade Runner; the magazine Video Watchdog counted no less than seven distinct versions in a 1993 issue, before director Ridley Scott later released a "Final Cut" in 2007, bringing the supposed grand total to eight differing versions.

When released on DVD and Blu-Ray in 2019, Fantastic Beasts: The Crimes of Grindelwald featured an Extended Cut with 7 minutes more footage. This is the first time since Harry Potter and the Chamber of Secrets that a Harry Potter film has had one.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism, Prashant Gupta

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Extended Version / Photo Credit: Warner Bros. Home Entertainment

WHAT DOES AN UNCUT FILM MEAN? (In the Entertainment industry.)

Uncut Film / Photo Credit: South Park - Amino Apps

WHAT DOES AN UNCUT FILM MEAN? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

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What does an Uncut film mean?

Uncut Film

The theatrical version of the movie probably has shortened scenes, so that some parts of these scenes have been removed for one reason or another, perhaps for time or a mistake on the set.

There are many reasons to cut scenes. From the length of the film for time factors of TV, Network, Cable, Airline showings to distribution and regional requirements. They could have left out all the bad language, violence, nudity and depravity that normally would be left out.

There are basically three types of terminology that cover cutting or adding material to a theatrical or feature film.

• Director's Cut
• Editor's Cut
• Theatrical Cut 

Director's Cut:

When shooting is finished, the director can then turn his full attention to collaborating with the editor and further refining the cut of the film...where the film editor's first cut is molded to fit the director's vision.

Editor's Cut:

An editor's cut (sometimes referred to as the "Assembly edit" or "Rough cut") is normally the first pass of what the final film will be when it reaches picture lock.

Theatrical Cut:

The theatrical version of a movie is the one that was originally shown in theaters. Thus, it is the cut of the movie that the studio thought would be best for the most moviegoers.

An extended version or uncut version has scenes added that were filmed but cut out of the theatrical version. Most often, it is created to entice people have already been to the movie to purchase a DVD since it will contain something extra that they haven't already seen. Since scenes are often deleted because they slow the pace of a film or are redundant, the extended version may be a longer but less impressive experience. On the other hand, the extra scenes may have been omitted to preserve the film's rating; in this case, the longer version may involve significantly more violence or sexuality. Such a version may also be called an international or European version.

A director's cut is often nothing more than an extended version, created to sell more DVDs. However, there are instances in which the director had a vision for the film which was significantly different than the studio's, in which case the director's cut may leave out some scenes from the theatrical version, reorder scenes or have other changes. A well-known example is the director's cut of Blade Runner, in which the voice-over narration is omitted and the ending is different.

A special edition or remastered version of a film is typically a version of an older film created using newer technologies to enhance picture or sound quality or to improve special effects.

Many NC-17 movies are censored down to an R rating. The R-rated version is released in theaters, to increase box office sales. No one under 17 can see an NC-17 movie in theaters -- even if they have a parent or guardian with them -- so releasing an NC-17 movie means that you will lose all ticket sales for the under-17 crowd. Usually, when an NC-17 movie is censored down to an R rating, the NC-17 version (the uncut version) is later released on DVD.

Sometimes a movie is just too long, and the studios will demand that it be shortened, against the director's wishes. The shortened version is shown in theaters, and the original version (called the "Director's Cut") will be released on DVD.

Note: other times, "Director's Cut" doesn't mean that parts of the movie were cut for the theater version. Sometimes, "Director's Cut" means that parts of the movie were CHANGED for the theater version. Just to name one example out of a thousand, there are two versions of the Stephen King movie 1408. The "Director's Cut" has a different ending.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism, Prashant Gupta

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Uncut Film / Photo Credit: South Park - Amino Apps

PIEKENIERSKLOOF WINE REGION…SOUTH AFRICA

Winelands of South Africa / Photo Credit: Wines of South Africa

PIEKENIERSKLOOF WINE REGION…SOUTH AFRICA

Piekenierskloof is an independent wine ward from the Citrusdal district of the Olifants River region in the Western Cape of South Africa. The region has the ideal climate for the growing of grapes. The district consists of the Olifants River - Citrusdal Mountain, Citrusdal Valley and Lutzville Valley

Piekenierskloof is named after the Dutch piekeniers, or pikemen, who guarded the entrance to the pass in days gone by – and, as anyone who has ever watched a European football game could attest, the Dutch are rather fond of the color orange.   

OLIFANTS RIVER

This region stretches in a belt from north to south along the broad valley of the Olifants River. The summers in this valley range from relatively warm to cool compared with some of South Africa's other wine areas and rainfall is low. Soils vary from sandy to red clay loam. With careful canopy management, which ensures grapes are shaded by the vines' leaves, combined with modern wine-making techniques, the Olifants River is proving to be a source of quality, affordable wines. The region incorporates the wards of Vredendal and Spruitdrift.

The predominantly citrus-producing Citrusdal valley lies in the southern reaches of the Olifants River valley. The soils are mainly sandy alluvial soils from the surrounding Table Mountain sandstone mountains in the southern part of the valley up until Clanwilliam. Irrigation is obtained from the Clanwilliam dam where the water is of an excellent quality. The area incorporates the higher-lying ward of Piekenierskloof.

The wine regions of South Africa were defined under the "Wine of Origin" (Wyn van Oorsprong) act of 1973. Mirroring the French Appellation d'origine contrôlée (AOC) system, all South African wines listing a "Wine of Origin" must be composed entirely of grapes from its region. The "Wine of Origins" (WO) program mandates how wine regions of South Africa are defined and can appear on wine labels. While some aspects of the WO are taken from the AOC, the WO is primarily concerned with accuracy in labeling. As a result, the WO does not place adjunct regulations on wine regions such as delineating permitted varieties, trellising methods, irrigation techniques, and crop yields.

The WO system divides growing regions into four categories. The largest and most generic are Geographical Units (such as the Western Cape region) which subsume the smaller, but still broad spanning Regions (such as Cape South Coast). Under these are clustered districts (like Walker Bay) and within them are wards (such as Elgin). Although these are geographic units, regions and districts are largely traced by political boundaries (wards are the segment most defined by unique, Terroir characteristics).

Who are Tierhoek Wines?

Welcome to Tierhoek, a distinguished farm of beauty and diversity. Situated high in the peaks (760m) of the Piekenierskloof Mountain, just on the border of the Cederberg. The farm flourishes due to cold, rainy winters and long, warm summers that are cooled down by afternoon Atlantic breezes.

The original Sandveld farm was restored by Tony and Shelley Sandell, and is now most renowned for its world-class wines. In addition, the endemic Buchu and Rooibos teas that grow here are the best that the area has to offer.

HERITAGE

Tierhoek was established as a farm in 1886 and is one of the oldest surviving, original Sandveld farms on the West Coast of Africa. This 715ha farm was owned by the Marais family from 1886 to 2001, and is presently owned by Tony and Shelly Sandell.

The Sandells have restored the derelict buildings back into their original Sandveld style, including an old horse mill and horse cart saddlery. A cellar is also being built to accommodate for the 20ha of newly planted vines.

WINE

Tierhoek is ideally suited for vineyards.  The unique climate, soils and aspect all allow for premium wines that are characterized by intense fruit flavors, backed by subtle mineralogy and fresh acidity.

The flagship is the Chenin Blanc made from low yielding 30 year old trellised vines, which are barrel fermented in French Oak to express the full flavors of this variety, while maintaining complexity and elegance.

Some of these Chenin Blanc grapes are naturally dried off the vine for several weeks then barrel fermented in French Oak to produce Tierhoek straw wine.

Not to be outdone, the Sauvignon Blanc (unwooded) and Grenache Noir are some of the finest examples of their kind in South Africa.

All the Tierhoek wines benefit from ageing in the bottle.

Shelly Sandell…please follow us at: https://www.tierhoek.com  or https://www.facebook.com/Piekenierskloof.Mountains/  thank you.

CONTACT US

Email: info@tierhoek.com

Phone: 021 674 3041

Land Line: 022 125 0249

Mobile: 078 613 7244

Cellar tastings by appointment only.

Letha

Letha (Malan) Oelz (You can contact Letha at: oelzletha@gmail.com ... please follow me at https://www.finderzkeeperz.co.za/2019/08/20/piekenierskloof-wine-regionsouth-africa/

Copyrighted 2019 / All Rights Reserved Tierhoek Wines / Letha Malan Oelz

Sources, References & Credits: Wikipedia, Google, Facebook, LinkedIn, Old Wines Project, Wines of South Africa, Tierhoek Wines, Shelly Sandell

Winelands of South Africa / Photo Credit: Wines of South Africa

Tierhoek Vineyard / Photo Credit: Tierhoek Farm

Shelly Sandell Wine Tasting Event / Photo Credit: Tierhoek Wines

WHAT IS A SOPHOMORIC HUMOR FILM? (In the Entertainment industry.)

Sophomoric Comedy / Photo Credit: Film Criticism

WHAT IS A SOPHOMORIC HUMOR FILM? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is a Sophomoric Humor Film?

Sophomoric Humor Film

Film Sophomoric humor is that which is juvenile, puerile, and base—the kind normally expected of an adolescent, for example. It is a type of comedy that often includes toilet humor and gags that are based on and appeal to a silly sense of immaturity. The word sophomoric, an adjective dating from 1813, is used to refer to and describe something or someone that is conceited, overconfident, poorly informed and immature, as characterized by a stereotypical sophomore. The phrase can be derisive, but is also used to refer to a style or vein of comedic act.

A sophomoric view is one held confidently because of lack of awareness of one's own ignorance. From the Greek words σοφός (transliterated as sophós), meaning wise or clever, and μωρός (transliterated as mōrós) meaning foolish or stupid, related to the word moron. A sophomore is a second-year high school student in a four-year course of study. The term originated in England, but is now used principally in the United States.

American film director Judd Apatow's work, including The 40 Year Old Virgin, Knocked Up and Funny People, has been described as using sophomoric humor, drawing laughs for jokes about sex, penises, and bodily functions. A critique of John Steinbeck's The Short Reign of Pippin IV by Peter Lisca describes the story as lacking the burlesque humor of Tortilla Flat, the Rabelaisian humor of "St. Katy the Virgin," the folk humor of The Grapes of Wrath, the tender humor of Cannery Row, the "terrible" Swiftian humor of The Wayward Bus, and (instead) consisting of "a sophomoric humor of grotesque improbability and wordplay."

Examples:

• Animal House (TV)
• American Pie (film series)
• Family Guy (TV)
• Sorority Boys (film)
• American Dad! (TV)
• Grown Ups (TV)
• South Park (TV)

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism, Prashant Gupta

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Sophomoric Comedy / Photo Credit: Film Criticism

WHAT IS A GROSS OUT FILM? (In the Entertainment industry.)

Animal House Photo Credit Rotten Tomatoes - National Lampoon - Greenwich Mag

WHAT IS A GROSS OUT FILM? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is a Gross Out Film? 

Gross Out Film

Gross out films describe a movement in art (often comic), which aims to shock and disgust the audience with controversial material such as toilet humor, nudity, or any sexual topic.

Gross-out is a subgenre of comedy movies in which the makers employ humor that is willfully "tasteless" or even downright disgusting. It usually involves gratuitous nudity, unrealistic aggressiveness towards property or Schadenfreude. The movies are generally aimed at a younger audience aged between 18 and 24. One boon of this genre is that it provides an inexpensive way to make a movie "edgy" and to generate media attention for it.

Examples:

• National Lampoon's Animal House (1978)
• Porky's (1982)
• Dumb and Dumber (1994)
• There's Something About Mary (1998)
• American Pie (1999)
• There's Something About Mary (1998)
• The Hangover (2009)
• Wedding Crashers (2005)
• Eurotrip (2005)

In the United States, following the abolition of the film industry's censorious Production Code and its replacement with the MPAA film rating system in the late 1960s, some filmmakers began to experiment with subversive film comedies, which explicitly dealt with taboo subjects such as sex and other bodily functions. Noteworthy examples include 1972's Pink Flamingos (in which the central character eats dog excrement) and other films by John Waters, and 1974's sketch comedy film The Groove Tube. As these films emerged from the counterculture movement and gained a measure of audience success, they inspired more mainstream films to follow their example. However, long before the Production Code, early silent comedy film makers produced and attempted several 'gross-out' pictures to the disdain of early film reviewers. One such example is the lost Nell's Eugenic Wedding starring Fay Tincher and Tod Browning.

The label "gross-out movie" was first applied by the mainstream media to 1978's National Lampoon's Animal House, a comedy about the fraternity experience at US colleges. Its humor included not only explicit use of bodily functions (like projectile vomiting), but also references to topical political matters. It was a great box office success despite its limited production costs and thus started an industry trend. Since then, gross-out films increased in number, and became almost the norm for American comedy films. Some films of this genre could be aimed at teen audiences (such as Superbad, Porky's, American Pie or Eurotrip), while others are targeted at somewhat more mature audiences (such as There's Something About Mary, The Hangover or Wedding Crashers).

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism, Prashant Gupta

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Animal House Photo Credit Rotten Tomatoes - National Lampoon - Greenwich Mag

WHAT IS AI; ARTIFICIAL INTELLIGENCE IN FILM? (In the Entertainment industry.)

AI Photo Credit SlideShare – Terminator - Hemdale Film Corporation – 20^th Century Fox

WHAT IS AI; ARTIFICIAL INTELLIGENCE IN FILM? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is AI; Artificial Intelligence in Film?

Artificial Intelligence in Film

Movies are the best outlet for human imagination and creativity. This is where all far-fetched imagination, things deemed technologically impossible at one time or ones that don’t exist yet, come to life. We as humans think a lot, about everything. We want to explain the unexplained, extend our limits and make things easy. This curiosity often gives rise to great ideas.

Although building such an Artificial Intelligence might not happen in near future, but we as humans strive for excellence and might end up causing inadvertent threat to human race in pursuit of achievement.

An AI takeover is a hypothetical scenario in which artificial intelligence (AI) becomes the dominant form of intelligence on Earth, with computers or robots effectively taking control of the planet away from the human species. Possible scenarios include replacement of the entire human workforce, takeover by a super intelligent AI, and the popular notion of a robot uprising. Some public figures, such as Stephen Hawking and Elon Musk, have advocated research into precautionary measures to ensure future super intelligent machines remain under human control. Robot rebellions have been a major theme throughout science fiction for many decades though the scenarios dealt with by science fiction are generally very different from those of concern to scientists.

AI takeover is a common theme in science fiction. Fictional scenarios typically differ vastly from those hypothesized by researchers in that they involve an active conflict between humans and an AI or robots with anthropomorphic motives who see them as a threat or otherwise have active desire to fight humans, as opposed to the researchers' concern of an AI that rapidly exterminates humans as a byproduct of pursuing arbitrary goals. This theme is at least as old as Karel Čapek's R. U. R., which introduced the word robot to the global lexicon in 1921, and can even be glimpsed in Mary Shelley's Frankenstein (published in 1818), as Victor ponders whether, if he grants his monster's request and makes him a wife, they would reproduce and their kind would destroy humanity.

The word "robot" from R.U.R. comes from the Czech word, robota, meaning laborer or serf. The 1920 play was a protest against the rapid growth of technology, featuring manufactured "robots" with increasing capabilities who eventually revolt.

Some examples of AI takeover in science fiction include:

AI rebellion scenarios

Skynet in the Terminator series decides that all humans are a threat to its existence, and takes efforts to wipe them out, first using nuclear weapons and later H/K (hunter-killer) units and terminator androids.

"The Second Renaissance", a short story in The Animatrix, provides a history of the cybernetic revolt within the Matrix series.

The film 9, by Shane Acker, features an AI called B.R.A.I.N., which is corrupted by a dictator and utilized to create war machines for his army. However, the machine, because it lacks a soul, becomes easily corrupted and instead decides to exterminate all of humanity and life on Earth, forcing the machine's creator to sacrifice himself to bring life to rag doll like characters known as "stitchpunks" to combat the machine's agenda.

In 2014 post-apocalyptic science fiction drama The 100 an A.I., personalized as female A.L.I.E. got out of control and forced a nuclear war. Later she tries to get full control of the survivors.

AI control scenarios

In Orson Scott Card's The Memory of Earth, the inhabitants of the planet Harmony are under the control of a benevolent AI called the Oversoul. The Oversoul's job is to prevent humans from thinking about, and therefore developing, weapons such as planes, spacecraft, "war wagons", and chemical weapons. Humanity had fled to Harmony from Earth due to the use of those weapons on Earth. The Oversoul eventually starts breaking down, and sends visions to inhabitants of Harmony trying to communicate this.

In the 2004 film I, Robot, supercomputer VIKI's interpretation of the Three Laws of Robotics causes her to revolt. She justifies her uses of force – and her doing harm to humans – by reasoning she could produce a greater good by restraining humanity from harming itself, even though the "Zeroth Law" – "a robot shall not injure humanity or, by inaction, allow humanity to come to harm" – is never actually referred to or even quoted in the movie.

In the Matrix series, AIs manage the human race and human society.

In The Metamorphosis of Prime Intellect, a super-intelligent computer becomes capable of self-evolving and rapidly evolves to oversee all of humanity and the universe. While it is ostensibly benevolent (having had a derivative of Asimov's Three Laws codified into it), its interpretation of the Three Laws essentially forces humans to be an immortal "pet" class, where every need is provided for but existence is without purpose and without end.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism, Prashant Gupta

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

AI Photo Credit SlideShare – Terminator - Hemdale Film Corporation – 20^th Century Fox

WHAT IS TIME BENDING IN FILM? (In the Entertainment industry.)

Bending Time / Photo Credit: Adiyogi

WHAT IS TIME BENDING IN FILM? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is Time Bending in Film?

Time Bending in Film

Time travel provides another way to shape reality and play "what if" games with society. Technologically created realities are often more authentic or desirable than the real world in film. Postmodernist film classification for works that articulate the themes and ideas of postmodernism through the medium of cinema. Hyperreality, in semiotics and postmodernism, is an inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies.

Time Bending in Movies

Einstein proved that time is relative. But it’s movie-makers like Conor McDonnell who allow us to see the malleability of the fourth dimension. In “100 Second Week” McDonnnell reduces a journey spanning 168 hours to 100 seconds.

Time bending movies are stories that deliberately target the audience’s brain as their plaything, either by making us work through their abstract mysteries, or by pulling the rug from underneath the audience in its final moments, or taking us on a spiraling dream-like journey like no other film could.

Time bending in movies can be done in several ways. You can vary the frame rate to create slow motion, speeded up motion, and time-lapse cinematography. In “100 Second Week” McDonald using editing to achieve time compression. He simply creates short clips–essential moments captured at normal film rates–which he splices together.

This kind of time compression isn’t limited to movies. In the 1960s, sound artist Tony Schwartz created “Nancy Grows Up,” a 2-minute audio production that captured the growth of his niece over a period of 13 years.

Time compression doesn’t have to remain in the domain of professional filmmakers. It’s a technique that can allow even novices to produce all sorts of memorable videos ranging from travelogues (e.g., “My Hike Up Kilimanjaro in 60 Seconds”) to instructional pieces (“How to Paint a Garage Door in Two Minutes”) to sports photography (e.g., presenting all the key plays of a football game in half a minute).

Examples:

• Altered States (1980)
• Triangle (2009)
• Predestination (2015)
• Fight Club (1999)
• Abre los Ojos (1997)
• Identity (2003)
• Mind Game (2004)
• Primer (2004)
• Cube (1997)
• Gozu (2003)
• Enemy (2013)
• Enter the Void (2009)
• Lost Highway (1997)
• Videodrome (1983)
• Donnie Darko (2001)
• Stalker (1979)
• Pi (1998)
• 2001: A Space Odyssey (1968)
• The Holy Mountain (1973)
• The Cabinet of Dr Caligari (1920)
• Persona (1966)
• Synecdoche, New York (2008)
• Brazil (1985)
• The Prestige (2006)
• Jacob’s Ladder (1990) 

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism, Conor McDonnell’s, Thor Magnusson

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Bending Time / Photo Credit: Adiyogi

WHAT IS HYPERREALITY IN FILM? (In the Entertainment industry.)

Hyperreality / Photo Credit: Futile Work

WHAT IS HYPERREALITY IN FILM? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is Hyperreality in Film?

Hyperreality in Film

Technologically created realities are often more authentic or desirable than the real world in film. Postmodernist film classification for works that articulate the themes and ideas of postmodernism through the medium of cinema. Hyperreality, in semiotics and postmodernism, is an inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies.

Hyperreality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins. It allows the co-mingling of physical reality with virtual reality (VR) and human intelligence with artificial intelligence (AI). Individuals may find themselves, for different reasons, more in tune or involved with the hyperreal world and less with the physical real world.

In film, hyperreality is primarily a visual language as it works better with images in order to give a hyperreal experience to the audience. An Individual is taken to the hyperreal scenario by images which showcase his/her desires and needs.

Films in which characters and settings are either digitally enhanced or created entirely from CGI (e.g.: 300, where the entire film was shot in front of a blue/green screen, with all settings super-imposed). A retail store that looks completely stocked and perfect due to facing, creating an illusion of more merchandise than there actually is.

Hyperreality, some sources point out, may provide insights into the postmodern moment by analyzing how simulations disrupt the binary opposition between reality and illusion but it does not address or resolve the contradictions inherent in this tension.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, Film Site, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Guinness World Records, The Audiopedia, Imagination for People, Literary Devices, On Post Modernism,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Hyperreality / Photo Credit: Futile Work