Annie Chang, VP of technology for Marvel Studios, has accepted an invitation to join the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, bringing the Council’s 2016–2017 membership roster to 25.
During Chang’s 11 years at Disney, Marvel’s parent company, she has shaped technology standards and strategies, helped research and implement new technologies into feature postproduction and mastering pipelines, and helped the studio transition from tapes to files and launch consumer distribution platforms. A fellow of the Society of Motion Picture and Television Engineers (SMPTE), Chang also is the co-chair of SMPTE’s 10E Essence Technology Committee and was a five-year chair of SMPTE’s Interoperable Master Format (IMF) standardization project. Chang joined the Academy as a member-at-large earlier this year.
The returning Council co-chairs for 2016–2017 are two members of the Academy’s Visual Effects Branch: Academy governor Craig Barron, an Oscar®-winning visual effects supervisor; and Paul Debevec, a sr. staff engineer at Google VR, adjunct professor at the USC Institute for Creative Technologies and a lead developer of the Light Stage image capture and rendering technology, for which he received a Scientific and Engineering Award in 2009.
The Council’s 22 other returning members are Wendy Aylsworth, Academy vice president John Bailey, Rob Bredow, Lisa Zeno Churgin, Elizabeth Cohen, Douglas Greenfield, Don Hall, John Hora, Jim Houston, Rob Hummel, Randal Kleiser, Academy governor John Knoll, Beverly Pasterczyk, Cary Phillips, Joshua Pines, Douglas Roble, Milt Shefter, David Stump, Steve Sullivan, Academy governor Bill Taylor, Academy governor Michael Tronick and Beverly Wood.
Established in 2003 by the Academy’s Board of Governors, the Science and Technology Council provides a forum for the exchange of information, promotes cooperation among diverse technological interests within the industry, sponsors publications, fosters educational activities, and preserves the history of the science and technology of motion pictures.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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