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21 abr. 2011 - El Museo de la Moda adquirió la réplica “más exacta” del DeLorean DMC-12 usado en la grabación de la película “Volver al Futuro”, y el auto ...
7 jun. 2019 - Avistan auto DeLorean de "Back to the Future" en Temuco. El auto de "Back ... Solamente era el modelo base que usaron para la saga de "Volver al Futuro". Incluso la ... Eliodoro Yañez 1783, Providencia, Santiago de Chile.
21 oct. 2015 - El auto que transportó a Marty McFly en la saga “Volver al futuro” ... la saga se hicieron “siete autos y en Chile hay dos de esos, uno que es ...
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The James Webb telescope: part alien life detector, part time machine
In the lead-up to the launch of the James Webb telescope, we look at the scientific objectives of the most powerful space observatory ever sent into orbit.
Are we alone in the universe? What did the first galaxies formed after the Big Bang look like? How did the planets in our solar system emerge? The James Webb telescope hopes to find answers to these existential questions.
Set to launch on December 22, the James Webb is the product of the combined scientific prowess of NASA, the European Space Agency (ESA) and the Canadian Space Agency (CSA) – and by extension, Université de Montréal (UdeM). The CSA contributed a scientific instrument and a guidance sensor to the massive observatory and René Doyon, Director of UdeM’s Institute for Research on Exoplanets (iREx) and a professor in the Physics Department, is the principal investigator on the Canadian scientific team.
Together, the components supplied by the CSA, NASA and the ESA form the most complex, accurate and powerful space observatory ever built, one that promises revolutionary discoveries in astronomy.
The unparalleled power of the observatory will help scientists throughout the world scrutinize the distant reaches of the universe to learn more about the composition and inhabitability of exoplanets and study the life cycle of stars.
Exploring new worlds in search of life
The James Webb Telescope is the successor to the Hubble space telescope but is more precise and efficient because of the size of its mirror, the range of light it can detect and its location.
These attributes will enable the Webb to study the planets in our solar system and other planetary systems in unprecedented detail. Moreover, the scientific instrument developed by Doyon’s team is designed to analyze many types of celestial bodies, including the atmospheric composition of distant exoplanets.
“What we’re looking for, our holy grail, are ‘biosignatures,’ that is, signs of extraterrestrial life,” explained iREx coordinator Nathalie Ouellette, an astrophysicist who does communications for the James Webb.
She hastened to add that we shouldn’t imagine these signs of life the way they are depicted in science fiction films: “We’re talking about finding signs of biological activity or the signature of certain molecules that we have identified as essential to life, such as oxygen, water vapour, carbon dioxide, methane and ozone. Based on the presence of such molecules, particularly in certain combinations, we may be able to determine that conditions are conducive to the development of life when we explore an exoplanet using the telescope.”
Casting light on the dawn of the universe
Telescopes are also time machines of a sort. “Looking into space is like looking into the past,” said Ouellette. “Light waves travel so fast that, to the naked eye, they seem to flash instantly from one point to another. In space, however, the distances are so vast that the time it takes light to travel is perceptible.”
That makes the Webb a marvellous time machine. It will be able to see back in time to 200 million years after the Big Bang, something that has never been done before. “With the Hubble, we could go to 500 million years after the Big Bang, so now we’re going 300 million years further,” noted Ouellette. “That’s remarkable, considering that the beginning of the universe was a tumultuous period. Galaxies were colliding and stars were forming at a rapid pace.”
“Tell me where you come from and I’ll tell you who you are”
The Webb will thus improve our understanding of the development of the first luminous objects (galaxies) over time. Ouellette believes the telescope will also provide insight into the creation of our own solar system.
“We still have many questions about the origins of life in our solar system. We don’t know exactly how we came to be on Earth and how the planets were formed,” Ouellette pointed out. “By studying other systems, stars and planets at various stages of development, we hope to be able to trace our own history and understand ourselves better.”
That is the ultimate goal of the James Webb: to revolutionize our understanding of the universe and, above all, to place the Earth, in all its fragility and uniqueness, in a broader context.
https://nouvelles.umontreal.ca/en/article/2021/12/09/the-james-webb-telescope-part-alien-life-detector-part-time-machine/ |
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Robert Zemeckis to direct Disney's long-developing live-action Pinocchio remake
Published on January 24, 2020 07:37PM EST
PHOTO: MICHAEL KOVAC/GETTY IMAGES; EVERETT COLLECTION
Robert Zemeckis wished upon the right star.
The Back to the Future filmmaker has closed a deal to direct Disney's live-action remake of Pinocchio, EW has confirmed. Zemeckis will also co-write a new draft of the screenplay with Chris Weitz (the writer of 2015's Cinderella), who is producing the film as well.
This comes on the heels of the news that Disney has a photorealistic Bambi remake in the works. Taken together, these developments suggest that the Mouse House is making a substantial effort to emotionally scar a new generation of kids: 1940's Pinocchio, after all, is known as one of the most demented Disney films in the canon. (Between the kids turning into donkeys, its hero getting locked in a cage, and a few of the studio's most grotesque villains, the movie has been giving kids a flood of nightmares for almost 80 years now.)
The Pinocchio remake has taken a relatively long and bumpy road to the screen. The project was first announced in 2015, and has seen both 1917's Sam Mendes and Paddington's Paul King join and then depart as director. Tom Hanks was reportedly in talks to play Pinocchio's "father" Geppetto in 2018; it's unclear if he is still attached to the film.
Zemeckis is currently directing a new adaptation of Roald Dahl's The Witches, starring Anne Hathaway and Octavia Spencer, for Warner Bros. That film will hit theaters Oct. 9. Pinocchio does not yet have a release date.
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‘Pinocchio’ Review: Tom Hanks Can’t Save Robert Zemeckis’ Latest Soulless, Weird, Uncanny Valley Effort
September 8, 2022 9:32 Am
Here’s one hell of a way to remember just how strange “Pinocchio” (1940) was: watch Robert Zemeckis’ hallucinatory live-action remake of it, now playing on Disney+. Some of the kooky parts here are not from the script by Simon Farnaby and Chris Weitz—to their credit, they didn’t invent the hedonistic sugary kid-hell of Pleasure Island, or the concept of an innocent boy whose wooden appendage grows, or a lonely man’s fixation on having a manic pixie dream son (Italian author Carlo Collodi did). But Zemeckis and company do repeat all of those notes, and add more strangeness of their own, while giving us another lifeless live-action adaptation from the factory that’s inside the Disney vault.
Zemeckis’ “Pinocchio” is a smattering of confusing decisions and inappropriate gestures for family entertainment, with an uncanny nature that starts with the talking wooden doll: he’s a direct CGI adaptation of the animated version as if this were “Space Jam: A New Legacy.” This Pinocchio (voiced by Benjamin Evan Ainsworth) has a fixed smile line on his mouth, drawn on by his master Gepetto, like a clown doll you wouldn’t want to be left in a dark room with. Figaro, the black and white shop kitty? Still adorable. Jiminy Cricket, voiced by Joseph Gordon-Levitt, like he’s trying to win a Cliff Edwards impersonation contest? Fine. But Pinocchio? Even more unsettling.
READ MORE: Fall 2022 Preview: 60+ Must-See Films To Watch
Then there’s the moment when this Pinocchio—before he goes off to school, which then becomes an adventure through the perils of showbiz, root beer temptation, and a sea monster’s belly—gets on his wooden hands and knees and smells a pile of shit. “I can’t wait to get to school and learn what all this stuff is!” he excitedly remarks. Do we really need to see that—like when Norman Bates is shown masturbating in Gus Van Sant’s remake of “Psycho”—to understand Pinocchio’s naïveté? It’s touches like that that make “Pinocchio” far more unhinged than it is emotionally grabbing, when its soul wants to be both, always with a permanent smile on its face.
In less glaring moments of Zemeckis still trying to get through some “Welcome to Marwen” irreverent doll humor out of his system, he treats the journey of Pinocchio as a set of thrill rides, so at least the pacing is commendable. There are numerous scenes of characters being zipped away, riding through something like the confectionary terrain of Sugar Mountain on Pleasure Island, or later when our heroes are racing to the end of the sea beast’s closing mouth. There are a couple of peppy original music numbers from Alan Silvestri and Glen Ballard, which prove to be the best place for Kyanne Lamaya’s endearing new character Fabiana to charm Pinocchio with her own marionette and dreams. (And for those Silvestri heads out there, his score is maybe sending some type of call for help by borrowing notes from his theme to “Mac and Me.”)
The big selling point for this live-action remake must be that it has Tom Hanks as woodcarver Gepetto, here with a bushy mustache and accent that booms every O in “Pinocchiooo!” as he celebrates and then searches for the wooden boy who goes missing on the way to school. But his sad muttering to himself doesn’t create the emotional tissue this version needs, especially when it adds an element of loss that’s different than the original’s Gepetto’s feeling of “It would be nice if he were a real boy.” You just feel so little for this version of Pinocchio or the human father who pines for him to return.
For all the talk about the uncanny valley that has followed Zemeckis’ films—with characters that aren’t believable enough to the human eye—“Pinocchio” does feel like it has passed that visual threshold. Sly entertainment fox Honest John (voiced on a sugar-high by Keegan-Michael Key) is a victorious example of this, with an electric energy, flowing fur, and clattering jaw. It’s hard to imagine a tall fox in a top hat looking any more realistic in a mostly live-action story.
But now it’s the storytelling that has reached an uncanniness here; this “Pinocchio” takes place in a world far stranger because of its high-def clarity, and it feels unnatural even for a fantasy. It makes the movie challenging to access in the lightest terms, and only little tidbits get out alive: Cynthia Erivo, as the new Blue Fairy, gives a rousing rendition of “When You Wish Upon a Star” as if it had been written for her. The practical sets are eye-popping, too, like the stages built for Pleasure Island, where kids smash clocks and record hateful videos while Luke Evans (as The Coachmaster) pops up to hand them root beer.
“Pinocchio,” released on Disney+ Day, is meant to be a wistful return to the moment in which “When You Wish Upon a Star” offered the melodic motif that now ushers in any Disney movie and became a company credo. Gepetto even has cuckoo clocks made of countless Disney and Pixar references, as if his humble workshop were the center of a universe. But instead of providing Disney peacefulness, it offers a bizarre moment of reflection: on both the questionable, ingrained Disney innocence of the past and what happens when these live-action movies repeat these elements with a cult-like sense of faithfulness and duty. This “Pinocchio” is real, and it’s real weird. [C-]
https://theplaylist.net/pinocchio-review-tom-hanks-cant-save-robert-zemeckis-latest-soulless-weird-uncanny-valley-effort-20220908/ |
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