Video Vortex Reader II: Moving Images Beyond Youtube
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Working with Digital Video
Working with digital video By admin Published: 10/04/2007 - 08:35 Peter Westenberg , October 2007 Working with digital video is part of many artistic disciplines. Besides single screen narratives, video productions can range from animation, multiple screen installation to interactive work. Still, many aspects of digital video can be traced back to the history of film. The interface of a timeline editing software such as Cinelerra [1] shows a multitrack timeline, a viewing monitor, a bin for clips; echoing the setup of a flatbed table for editing celluloid. A dual head set up Cinelerra work station The physical materiality of film and video are fundamentaly different: celluloid versus pixels, chemicals versus algorhytms, but the relationship between film and video has mutually matured. As outlined by Matt Hanson [1b] , video expands cinematographic traditions in new directions, filmmakers can benefit from digitisation by reclaiming the central position of creativity in the film process, as pointed out by Samira Makhmalbaf. [1c] 1 / 28 An 'Old Delft Cinemonta' 16mm editing table in use at the Filmwerkplaats in Rotterdam Digital video also roots in artistic practices of the sixties and seventies. [1a] Artists started using video to capture temporary performances (Joan Jonas [2] , Vito Acconci [3] ), they integrated video monitors in installations (Nam June Paik [4] ), experimented with filters and mixing in video paintings (Peter Campus [5] ). Compared to film cameras, video cameras had a strong feature: it became possible connect a monitor and view directly what the camera recorded. Today, artists can use softwares such as Lives [5] , Jahshaka [6] , Zone Minder [7] or Pure Data [8] and Linux distributions aimed at audio and visual creation such as Dyne:bolic [9] Apodio [10] and Ubuntu Studio [11] to further explore the possibilities of real time video, multiple camera input and live interaction. -
Northeasthistoricfilmcarlson 39
NortheastHistoricFilmCarlson 1/29 Please review the Application Guidelines for details about the information requested in this proposal. Fields marked with an asterisk are required. Eligibility To be eligible for a Digitizing Hidden Collections grant in 2016, applicant projects must meet the following requirements: Minimum allowable request for 2016: $50,000 Maximum allowable request for 2016: single-institution projects: $250,000 / collaborative projects: $500,000 Minimum allowable project term: 12 months Maximum allowable project term: single-institution projects: 24 months / collaborative projects: 36 months Projects must begin between January 1 and June 1, 2017 Single-institution projects must be completed by May 31, 2019 Collaborative projects must be completed by May 31, 2020 Is this a collaborative project? Yes/No Yes What is the size of the request? NOTE: The minimum acceptable request in this program, for all projects, is $50,000. Single-institution projects can request no more than $250,000. Collaborative projects can request no more than $500,000. Amount Requested $322,092 Provide the proposed project length in whole months, and list the project start and end dates. NOTE: All projects must begin between January 1 and June 1, 2017. The minimum project length, for all projects, is 12 months. Single-institution projects can last up to 24 months and must end by May 31, 2019. Collaborative projects can last up to 36 months and must end by May 31, 2020. Project length (months) 18 Project Start Date 01/01/2017 Project End Date 06/30/2018 NortheastHistoricFilmCarlson 2/29 A note regarding principal investigators: An individual may not be named as a principal investigator (PI) on more than one proposal, and may not serve as PI on two funded projects simultaneously. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
05-08-321Video.Pdf
Topics Covered Overview – What is Videography? Videography Roles Writing and Speaking Skills for Video Storyboarding Scripting Camera Basics Filming & Filming Techniques 3,2,1..Action! Video Video Roles Producer Keeps the video production on schedule. Director Directs ‘on-air’ talent, works with Videographer. Screenwriter Writes the script, copy, (scriptwriter) narration or voice-over for film. Videographer (camera Photographs the person) scenes and works with the Director. Video Roles Graphic Artist Designs and creates visuals to enhance and support the message. Wardrobe (and Helps dress actors in Makeup) Director approved costumes and applies makeup. Puts scenes together to Editor most effectively convey the video’s message. Works with director, writers Reporter/Interviewer and interviewers to produce – Narrator/Presenter the best possible responses to the Director. Writing Skills for Video Write clearly and simply Use Conversational tone Keep sentences short. First and second person (“I/You can make a difference”.) Use action verbs & present tense (“join”, “come”, “write”, “buy”) Use comparisons & metaphors (indirect comparison) Narrated copy; 60-sec spot = 75-100 words Speaking Skills for Video Use a strong, confident, voice. Enunciate, speak clearly. Use appropriate facial expressions. Eye contact – extremely important and powerful. Use of hand gestures – ‘only if appropriate’. Microphone placement Watch network newscaster- note pitch, speed, facial expressions, gestures. Writing & Speaking Activity Write out the following words: You should do for your country as you would want your country to do for you. To the person on your left – speak these words (in this order) in your best Narrator or Reporter voice. Rewrite the above words into a more emphatic, emotional, and powerful message. -
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place. -
Alternative Perspectives of African American Culture and Representation in the Works of Ishmael Reed
ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED A thesis submitted to the faculty of San Francisco State University In partial fulfillment of Zo\% The requirements for IMl The Degree Master of Arts In English: Literature by Jason Andrew Jackl San Francisco, California May 2018 Copyright by Jason Andrew Jackl 2018 CERTIFICATION OF APPROVAL I certify that I have read Alternative Perspectives o f African American Culture and Representation in the Works o f Ishmael Reed by Jason Andrew Jackl, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English Literature at San Francisco State University. Geoffrey Grec/C Ph.D. Professor of English Sarita Cannon, Ph.D. Associate Professor of English ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED Jason Andrew JackI San Francisco, California 2018 This thesis demonstrates the ways in which Ishmael Reed proposes incisive countemarratives to the hegemonic master narratives that perpetuate degrading misportrayals of Afro American culture in the historical record and mainstream news and entertainment media of the United States. Many critics and readers have responded reductively to Reed’s work by hastily dismissing his proposals, thereby disallowing thoughtful critical engagement with Reed’s views as put forth in his fiction and non fiction writing. The study that follows asserts that Reed’s corpus deserves more thoughtful critical and public recognition than it has received thus far. To that end, I argue that a critical re-exploration of his fiction and non-fiction writing would yield profound contributions to the ongoing national dialogue on race relations in America. -
Shiffman 120, 122, 123, 125, 201, 202, 217 Classroom Instructions
Shiffman 120, 122, 123, 125, 201, 202, 217 (TEC classrooms – level B) No Access Codes Needed. These rooms utilize ceiling-mounted projectors, focused on wall-mounted pull down screens. Displaying Video or Computer Sources 1. At the Instructor Station. Push DOWN on the black system controller to access controls. Touch the screen to begin. 2. Press the PC (or any source) button to turn on the display system. The projector will take over a minute to warm up. No controls will function during warm up. 3. After the warm up, you can select another source using the appropriate buttons. (Buttons illuminate when active.) It’s recommended to wait a few seconds between input selections. • PC will display the installed Instructor PC. There are courtesy USB ports on the front of the PC. • LAPTOP will open another page, where you can select the VGA cable w/audio or the Digital HDMI cable as your laptop source. These cables are provided at the instructor station. Beyond the buttons, the system will attempt to auto-detect, and switch to a laptop when properly connected. Users must provide their MAC & DisplayPort adapters. • DVD selects the DVD player, stored at the Instructor Station. A disc control page will appear on the touch panel allowing you to control the player. • If a VHS player exists in your room, a VCR button will appear as a source on the touch panel. Press VCR to select. If there is no VHS player, contact Media Technology Services (MTS: 781- 736-4632) to request a temporary unit. Legacy VHS stock is declining, and this is based on inventory availability. -
The K-Pop Wave: an Economic Analysis
The K-pop Wave: An Economic Analysis Patrick A. Messerlin1 Wonkyu Shin2 (new revision October 6, 2013) ABSTRACT This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate— the ‘dance-intensive’ segment—and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K- pop stars to new entertainment and art activities. Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does. Keywords: Entertainment; Comparative advantages; Services; Trade in services; Internet; Digital music; Technologies; Intellectual Property Rights; Culture; Koreanness. JEL classification: L82, O33, O34, Z1 Acknowledgements: We thank Dukgeun Ahn, Jinwoo Choi, Keun Lee, Walter G. Park and the participants to the seminars at the Graduate School of International Studies of Seoul National University, Hanyang University and STEPI (Science and Technology Policy Institute). -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
Hammer Langdon Cv18.Pdf
LANGDON HAMMER Department of English [email protected] Yale University jamesmerrillweb.com New Haven CT 06520-8302 yale.edu bio page USA EDUCATION Ph.D., English Language and Literature, Yale University B.A., English Major, summa cum laude, Yale University ACADEMIC APPOINTMENT Niel Gray, Jr., Professor of English and American Studies, Yale University Appointments in the English Department at Yale: Lecturer Convertible, 1987; Assistant Professor, 1989; Associate Professor with tenure, 1996; Professor, 2001; Department Chair, 2005-fall 2008, Acting Department Chair, fall 2011 and fall 2013, Department Chair, 2014-17 and 2017-19 PUBLICATIONS Books In progress: Elizabeth Bishop: Life & Works, A Critical Biography (under contract to Farrar Straus Giroux) The Oxford History of Poetry in English (Oxford UP), 18 volumes, Patrick Cheney general editor; LH coordinating editor for Volumes 10-12 on American Poetry, and editor for Volume 12 The Oxford History of American Poetry Since 1939 The Selected Letters of James Merrill, edited by LH, J. D. McClatchy, and Stephen Yenser (under contract to Alfred A. Knopf) Published: James Merrill: Poems, Everyman’s Library Pocket Poets, selected and edited with a foreword by LH (Penguin RandomHouse, 2017), 256 pp James Merrill: Life and Art (Alfred A. Knopf, 2015), 944 pp, 32 pp images, and jamesmerrillweb.com, a website companion with more images, bibliography, documents, linked reviews, and blog Winner, Lambda Literary Award for Gay Memoir/Biography, 2016. Finalist for the Poetry 2 Foundation’s Pegasus Award for Poetry Criticism, 2015. Named a Times Literary Supplement “Book of the Year, 2015” (two nominations, November 25). New York Times, “Top Books of 2015” (December 11). -
Reader R E a D
Reader RESPONSES TO YOUTUBE EDITED BY GEERT LOVINK AND SABINE NIEDERER INC READER #4 R E The Video Vortex Reader is the first collection of critical texts to deal with R the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first SABINE NIEDE two Video Vortex conferences in Brussels and Amsterdam in 2007 which fo- AND cused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new dis- tribution platform mean for artists and activists? What are the alternatives? T LOVINK Contributors: Tilman Baumgärtel, Jean Burgess, Dominick Chen, Sarah Cook, R Sean Cubitt, Stefaan Decostere, Thomas Elsaesser, David Garcia, Alexandra GEE Juhasz, Nelli Kambouri and Pavlos Hatzopoulos, Minke Kampman, Seth Keen, Sarah Késenne, Marsha Kinder, Patricia Lange, Elizabeth Losh, Geert Lovink, Andrew Lowenthal, Lev Manovich, Adrian Miles, Matthew Mitchem, Sabine DITED BY Niederer, Ana Peraica, Birgit Richard, Keith Sanborn, Florian Schneider, E Tom Sherman, Jan Simons, Thomas Thiel, Vera Tollmann, Andreas Treske, Peter Westenberg. Institute of Network Cultures, Amsterdam 2008 ISBN 978-90-78146-05-6 Reader 2 Reader RESPONSES TO YOUTUBE 3 Video Vortex Reader: Responses to YouTube Editors: Geert Lovink and Sabine Niederer Editorial Assistance: Marije van Eck and Margreet Riphagen Copy Editing: Darshana Jayemanne Design: Katja van Stiphout Cover image: Orpheu de Jong and Marco Sterk, Newsgroup Printer: Veenman Drukkers, Rotterdam Publisher: Institute of Network Cultures, Amsterdam 2008 Supported by: XS4ALL Nederland and the University of Applied Sciences, School of Design and Communication. -
Public Voices: Writing Across Lehman College 2003-2012
Public Voices: Writing Across Lehman College 2003-2012 Edited by Marcie Wolfe and Jessica Yood Public Voices: Writing Across Lehman College, 2003-2012 ______________________________________________________________ Public Voices: Writing Across Lehman College 2003-2012 Lehman College The City University of New York 2016 Public Voices: Writing Across Lehman College, 2003-2012 ______________________________________________________________ TABLE OF CONTENTS Acknowledgments i Introduction Public Voices: Vision, History, Overview ii Marcie Wolfe and Jessica Yood Writing and Student Identities Writers at Play: The Excitement of Low-Stakes Writing 2 in an Interdisciplinary Leisure Studies Course Robin Kunstler Active Learning in the Sciences: WAC and a Food 15 Nutrition Course Gul Tiryaki-Sonmez Steps and Caves: Teaching Social Work Practice as a 20 Writing-Intensive Course Richard Holody Writing and Academic Rigor Scaffolding a Final Research Project: Music 34 of the Classical Period Janette Tilley Using Dialogue to Promote Intellectual Debate 46 in a Latin-American Literature Course Maria del Carmen Saen-de-Casas A “Revolution” in Reading: A First-Year Professor’s Experience 54 with Reading Journals in a Latin American History Course Kathleen López Writing and Formative Assessment Rethinking, Revisiting, and Revising in a Teacher 65 Education Course Elaine Avidon Public Voices: Writing Across Lehman College, 2003-2012 ______________________________________________________________ Teaching an Old Dog New Tricks: The Evolution 82 of a WAC History Course and a History Professor Duane Tananbaum with Celeste Donovan Writing Tango: Tango as a Metaphor for Partnering 96 and Dialogue Among Professor, Writing Fellow, and Students in a Graduate Teacher-as-Researcher Course Abigail S. McNamee We Built This City: Playing with Voice in a U.S.