Cineworld Nottingham & IMAX 10:10am 12:40pm 03:10pm 05:40pm 08:20pm Starring global superstar Matt Damon and directed by one of the most breathtaking visual stylists of our time, Zhang Yimou (Hero, House of Flying Daggers), Legendary’s The Great Wall tells the story of an elite force making a valiant stand for humanity on the world’s most iconic structure. The first English-language production for Yimou is the largest film ever shot entirely in China. The IMAX release of The Great Wall will be digitally re-mastered into the image and sound quality of An IMAX 3D Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX's customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie. Beauty and the BeastThe CODEC Research Centre for Digital Theology CODEC is place of research, inquiry, translation, re-coding and re-engineering between faiths millennia old and the contemporary digital world.
Our aim is to research and to transform the theological conversation concerning digital culture. The current staff are displayed in the photo, but CODEC includes a much larger network of people exploring together the impact digital culture is making on contemporary pedagogy, the world of faith and discipleship, and on our engagement with the Bible and other sacred texts. What do we do? CODEC is a research centre – so our staff can be found presenting public lectures in major universities; speaking at faith festivals such as Greenbelt or Spring Harvest; leading a small group conversation in a local church; giving a paper at an academic conference; supervising a student working on a dissertation at Durham or elsewhere; sitting at a desk coding, or reading, or watching a video; or creating a Lego movie of Psalm 139; reading and writing papers; engaging with local and national government; writing funding bids for the UK’s leading Research Councils. Our research is both theoretical and applied – listening to voices from the public, from the pew and from the academy;
both a servant of the Church and a prophetic voice to the Church; developing the practical outcomes of our research into reports, resources and training opportunities, such as MediaLit – our week long course for faith practitioners exploring both the practicalities and theology of digital culture, communication and faith. What are our foci? Our work focuses on four areas: Theology in a Digital Age – including Biblical literacy; the impact of digital transformation on society, culture and communication; theological issues related to religious identity online; the development of a North European Collaboratory for Digital Theology. Preaching & Communication in a Digital Age – homiletics; and the place of imagination in the life of faith.the continued BigBible web project; issues of growth and discipleship within religious communities and their use of social media; being human in a digital age. Digital Resources – providing first class examples of digital artefacts for use in teaching, training and discipleship through the Common Awards process and for wider distribution within theological training establishments in the UK and beyond.
We update our Facebook page regularly with news, events and team citations on the media. Please like the page! We also have a Twitter account you can follow, as do most of our team members. And we publish a regular MailChimp newsletter to keep you updated with what we are doing. Job Vacancy – Digital Developer/Curator for the Discipleship Portal Project – Cranmer Hall Durham: https://t.co/UIV78QXf3K RT @pmphillips: Facebook Live video explaining why @codecuk are in Finland ???????? RT @pmphillips: Did a short Facebook note on this morning's virtual reality experience https://t.co/O524jY5fxF #digitaltheology… CODEC, St John’s College,3, South BaileyDurham,DH1 3RJBeauty and the Beast The Hop Farm, Paddock Wood, KentTN12 6PY Friday - 31st March:20:00 Saturday - 1st April:20:00 Sunday - 2nd April:20:00 Monday - 3rd April:20:00 Tuesday - 4th April:20:00This article is a preview of WIRED magazine 01.16, our Star Wars special issue featuring J.J. Abrams, on sale from December 10 2015.
Follow our Star Wars: The Force Awakens hub page for all of our web, print and behind-the-scenes coverage.Even in galaxies far, far away you can't escape the influence of Jony Ive.When costume designer Michael Kaplan (Blade Runner, Star Trek) was looking for a way to update the stormtroopers for The Force Awakens, his inspiration came partly from the phone in his pocket. "With time, I think, simplification occurs," says Kaplan."Because the stormtroopers are hard and white and plasticky, my thoughts did go to Apple."Where once were bumps and nodules, now are clean lines and floating faceplates. The revised stormtroopers are illustrative of Kaplan's general approach to the new film's approximately 1,500 costumes, which had to retain the spirit of the original films while also showing the passing of three decades, both in fictional and real-world technology. In the case of the stormtroopers, that meant a smoother silhouette but also construction more suited to battle than their 70s counterparts.
Stormtrooper helmet "The original stormtroopers were vacuum-formed," says Kaplan. "That process required a much thinner plastic to be heated and molded. These are much harder [cast in polyurethane], so they don't crack. They're much tougher materials, plus they have more flexibility." For the film's villain, the Vader-worshipping Kylo Ren, Kaplan had the job of evoking the past without directly copying it. "Kylo Ren feels a kinship with Darth Vader, so there is a bit of emulation," he says. Particularly in the mask, for which Abrams' specification was that Kaplan create, "something that would make a child want to see the movie".The most striking costume revealed thus far was never originally supposed to be used. The elegant silver armour of Captain Phasma, a first order officer played by Gwendoline Christie, started as just a whim of Kaplan's. "I loved the idea of taking a stormtrooper into the world of armour," he says. "It was just something I had in my head. The concept artist took my sketch and came up with a really beautiful illustration.