Photo Journalism, Film and Animation
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Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
Available Papers and Transcripts from the Society for Animation Studies (SAS) Annual Conferences
SAS Conference papers Pagina 1 NIAf - Available papers and transcripts from the Society for Animation Studies (SAS) annual conferences 1st SAS conference 1989, University of California, Los Angeles, USA Author (Origin) Title Forum Pages Copies Summary Notes Allan, Robin (InterTheatre, European Influences on Disney: The Formative Disney 20 N.A. See: Allan, 1991. Published as part of A Reader in Animation United Kingdom) Years Before Snow White Studies (1997), edited by Jayne Pilling, titled: "European Influences on Early Disney Feature Films". Kaufman, J.B. (Wichita) Norm Ferguson and the Latin American Films of Disney 8 N.A. In the years 1941-43, Walt Disney and his animation team made three Published as part of A Reader in Animation Walt Disney trips through South America, to get inspiration for their next films. Studies (1997), edited by Jayne Pilling. Norm Ferguson, the unit producer for the films, made hundreds of photo's and several people made home video's, thanks to which Kaufman can reconstruct the journey and its complications. The feature films that were made as a result of the trip are Saludos Amigos (1942) and The Three Caballero's (1944). Moritz, William (California Walter Ruttmann, Viking Eggeling: Restoring the Aspects of 7 N.A. Hans Richter always claimed he was the first to make absolute Published as part of A Reader in Animation Institute of the Arts) Esthetics of Early Experimental Animation independent and animations, but he neglected Walther Ruttmann's Opus no. 1 (1921). Studies (1997), edited by Jayne Pilling, titled institutional filmmaking Viking Eggeling had made some attempts as well, that culminated in "Restoring the Aesthetics of Early Abstract the crude Diagonal Symphony in 1923 . -
2011-2012 (Pdf)
Trinity College Bulletin Catalog Issue 2011-2012 August 16, 2011 Trinity College 300 Summit Street Hartford, Connecticut 06106-3100 (860)297-2000 www.trincoll.edu Trinity College is accredited by the New England Association of Schools and Colleges, Inc NOTICE: The reader should take notice that while every effort is made to ensure the accuracy of the information provided herein, Trinity College reserves the right to make changes at any time without prior notice. The College provides the information herein solely for the convenience of the reader and, to the extent permissible by law, expressly disclaims any liability that may otherwise be incurred. Trinity College does not discriminate on the basis of age, race, color, religion, gender, sexual orientation, handicap, or national or ethnic origin in the administration of its educational policies, admissions policies, scholarship and loan programs, and athletic and other College-administered pro- grams. Information on Trinity College graduation rates, disclosed in compliance with the Student Right- to-Know and Campus Security Act, Public Law 101-542, as amended, may be obtained by writing to the Office of the Registrar, Trinity College, 300 Summit Street, Hartford, CT 06106. In accordance with Connecticut Campus Safety Act 90-259, Trinity College maintains information concerning current security policies and procedures and other relevant statistics. Such information may be obtained from the director of campus safety at (860) 297-2222. Contents College Calendar 7 History of the College 10 The Mission of Trinity College 14 The Curriculum 15 The First-Year Program 16 Special Curricular Opportunities 17 The Individualized Degree Program 28 Graduate Studies 29 Advising 30 Requirements for the Bachelor's Degree 33 Admission to the College 43 College Expenses 49 Financial Aid 53 Key to Course Numbers and Credits 55 Distribution Requirement 57 Interdisciplinary Minors 58 African Studies................................................... -
Overview of History of Irish Animation
Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal. -
The Coming of Sound Film and the Origins of the Horror Genre
UNCANNY BODIES UNCANNY BODIES THE COMING OF SOUND FILM AND THE ORIGINS OF THE HORROR GENRE Robert Spadoni UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more informa- tion, visit www.ucpress.edu. A previous version of chapter 1 appeared as “The Uncanny Body of Early Sound Film” in The Velvet Light Trap 51 (Spring 2003): 4–16. Copyright © 2003 by the University of Texas Press. All rights reserved. The cartoon on page 122 is © The New Yorker Collection 1999 Danny Shanahan from cartoonbank.com. All rights reserved. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Spadoni, Robert. Uncanny bodies : the coming of sound film and the origins of the horror genre / Robert Spadoni. p. cm. Includes bibliographical references and index. isbn 978-0-520-25121-2 (cloth : alk. paper) isbn 978-0-520-25122-9 (pbk. : alk. paper) 1. Horror films—United States—History and criticism. 2. Sound motion pictures—United States— History and criticism. I. Title. pn1995.9.h6s66 2007 791.43'6164—dc22 2006029088 Manufactured in the United States -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
Slides for Students
SLIDES FOR STUDENTS The Effective Use of Powerpoint in Education GARY D. FISK SLIDES FOR STUDENTS The Effective Use of Powerpoint in Education GARY D. FISK Blue Ridge | Cumming | Dahlonega | Gainesville | Oconee Copyright © 2019 by Gary D. Fisk All rights reserved. No part of this book may be reproduced in whole or in part without written permission from the publisher, except by reviewers who may quote brief excerpts in connections with a review in newspaper, magazine, or electronic publications; nor may any part of this book be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or other, without the written permission from the publisher. Published by: University of North Georgia Press Dahlonega, Georgia Printing Support by: Lightning Source Inc. La Vergne, Tennessee Book design by Corey Parson. ISBN: 978-1-940771-43-4 Printed in the United States of America For more information, please visit: http://ung.edu/university-press Or e-mail: [email protected] CONTENTS 0 Introduction vii 1 Presentation Software 1 2 Powerpointlessness 14 3 Educational Effectiveness and Student Perceptions 32 4 Avoiding Death by Powerpoint 53 5 Design for Emotion I 67 6 Design for Emotion II 84 7 Design for Sensation 100 8 Design for Perception I 117 9 Design for Perception II 135 10 Design for Attention 156 11 Design for Cognition I 170 12 Design for Cognition II 190 13 Design for Behavior 213 14 Technology Choices 232 15 Tips and Tricks for Slide Presentations 247 16 A Classroom Presentation Example 264 17 The Bright Future of Powerpoint in Education 292 A Appendix A 307 B Appendix B 310 C Appendix C 314 0 INTRODUCTION The creative spark that motivated this book was the observation that powerpoint presentations sometimes fail to produce a positive impact on student learning. -
Soviet Film Archives Provide Americana Two Missing Works of D.W. Griffith
/:*« The Museum of Modern Art No. kO V(/est 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart Monday, March 2k, I969 FOR IMMEDIATE RELEASE SOVIET FILM ARCHIVES PROVIDE AMERICANA TWO MISSING WORKS OF D.W. GRIFFITH Two early valued works of David Wark Griffith, father of American films, were discovered in the State Film Archives of the Soviet Union. The missing films, made in 1918 and 1919; have been donated by the Soviets to The Museum of Modern Art, which in turn has given to the Russians some early newsreels referring to events in Russian history. A world-wide search was made among film archivists and private collectors to locate the two Griffith films, "A Romance of Happy Valley," starring Lillian Gish, and "Scarlet Days" with Richard Barthlemess. Both films will be screened for the public, March 2k and 25, at 2:00 p.m. and 5:30 p.m., in the Museum Auditorium, though the titles are still in Russian. English titles will be made later, Eileen Bowser, Associate Curator in charge of Collections, Department of Film, says from the complete list of original titles from D.W. Griffith films now in the Museum archives. Referring to "A Romance of Happy Valley," Mrs. Bowser described it as a pastoral romance with an especially fine performance by Lillian Gish, while "Scarlet Days," she said, is of interest because it reminds us that Griffith was among the early creators of the Western genre. He made one-reel Westerns during his Biograph period, but this is the only full-length Western made by the master film-maker. -
Module Und Lehrveranstaltungen Nach Semestern Ausführliche Fassung
Studium und Lehre Module und Lehrveranstaltungen nach Semestern Ausführliche Fassung WS 2012 Studiengang: BA Kun Stand: 26. Okt. 2012 - 18:55 Diese Liste enthält alle die den Modulen zugeordneten Lehrveranstaltungen des Studiengangs - geordnet nach Semestern in absteigender Reihenfolge und innerhalb eines Semesters nach Modulen. ab Seite Module und Lehrveranstaltungen im WS 2012 1 Module und Lehrveranstaltungen im SS 2012 26 Module und Lehrveranstaltungen im WS 2011 53 Module und Lehrveranstaltungen im SS 2011 72 Module und Lehrveranstaltungen im WS 2010 98 Module und Lehrveranstaltungen im SS 2010 121 Module und Lehrveranstaltungen im WS 2009 140 Module und Lehrveranstaltungen im SS 2009 167 Module und Lehrveranstaltungen im WS 2008 182 Module und Lehrveranstaltungen im SS 2008 198 Module und Lehrveranstaltungen im WS 2007 202 26.10.2012 18:55:09 Mod_VV_lang_INTEGR 1/207 Module und Lehrveranstaltungen im WS 2012 BA Kun KUG 101 # 01 BA Kun KUG 101 KUG101 Einführung in die Kunstgeschichte 6 LP O gültig für PO 2007-02-28 Fach/StR: H Fach/StR: N BA Kun KUG 101 # 01 S-3 Einführung in die kunsthistorischen Methoden 3 LP E. Leuschner Interpretationsübungen zur Kunstgeschichte bis ca 1800 (PO 2007:Einführung in die kunsthistorischen Methoden) Interpretation art history until 1800 WS 2012 3 05 0 021 ::38891:: •D• 16.10.2012 Di 18:00-20:00 LG 3/HS 112 In diesem Kurs sollen die Studierenden durch mündliche Beiträge oder selbstverfasste Kurztexte Methodenwissen für das Beschreiben und Interpretieren von Kunstwerken des in KUG 101#01 behandelten Zeitraums nach Kriteren wie Material, Stil, Aussage/Bedeutung und kulturelle Kontexte erwerben. In this course, students will develop and sharpen their interpretative skills by describing and analysing works of art from the period covered by course KUG 101#01 according to criteria such as artistic technique, style, meaning and cultural contexts. -
6 2. IDENTIFIKASI DATA DAN ANALISIS 2.1. Definisi Dan Teori
2. IDENTIFIKASI DATA DAN ANALISIS 2.1. Definisi dan Teori 2.1.1. Pasar Anak-anak Anak-anak sering disebut dream target karena anak-anak cenderung peka terhadap merek dan tidak sensitive terhadap harga. Peningkatan penghasilan masyarakat di kota-kota besar membuat keluarga-keluarga punya anak yang lebih sedikit, tetapi memiliki penghasilan yang lebih baik. Dengan demikian orang tua mengalokasikan penghasilan yang lebih besar untuk anak-anaknya. Menurut Mowen (1977), ada tiga jenis pasar pada anak-anak : 1. Pasar Utama Anak-anak adalah konsumen utama produk-produk tertentu seperti makanan, mainan, bacaan, pakaian, dan sebagainya. Di negara-negara maju pasarnya mencapai lebih dari US$ 8 Milliar. 2. Pasar Pengaruh Anak-anak mempengaruhi orang tuanya memutuskan produk-produk yang dibelanjakannya. Anak-anak menggugah hati orang-orang dewasa lewat iklan dan impian-impiannya. Mereka mempengaruhi pembelian rumah, kendaraan, dan barang-barang milik orang dewasa. Sebagai gambaran jumlah pengaruhnya mencapai US$ 130 Milliar di negara-negara maju. 3. Pasar Masa Depan Dipercayai pula bahwa siapa yang menguasai otak anak-anak, ia akan menguasai masa depannya. Anak-anak yang senang bermain kereta api akan menyukai kereta api hingga hari tuanya. Anak-anak yang bangga terhadap dunia militer kelak akan bersimpati atau bercita-cita menjadi militer, dan seterusnya. Anak-anak sendiri dapat dibagi menjadi beberapa kelompok : · Bayi (baby), berusia 0-24 bulan · Pra Sekolah (toddler), berusia 2-4 tahun · Anak-anak, berusia 4-9 tahun 6 Universitas Kristen Petra 7 2.1.2. Pengaruh Film Pada Anak Usia 1-4 Tahun Menurut “Teori social mengenai belajar” (Bandura dan Walters, 1963) maka suatu tingkah laku dapat dipelajari dengan “melihat” saja. -
CRB 2002 Report [Pdf]
Motion Picture Production in California By Martha Jones, Ph.D. Requested by Assembly Member Dario Frommer, Chair of the Select Committee on the Future of California’s Film Industry MARCH 2002 CRB 02-001 Motion Picture Production in California By Martha Jones, Ph.D. ISBN 1-58703-148-5 Acknowledgements Many people provided assistance in preparing a paper such as this, but several deserve special mention. Trina Dangberg helped immensely in the production of this report. Judy Hust and Roz Dick provided excellent editing support. Library assistance from the Information Services Unit of the California Research Bureau is gratefully acknowledged, especially John Cornelison, Steven DeBry, and Daniel Mitchell. Note from the Author An earlier version of this document was first presented at a roundtable discussion, Film and Television Production: California’s Role in the 21st Century, held in Burbank, California on February 1, 2002, and hosted by Assembly Member Dario Frommer. Roundtable participants included the Entertainment Industry Development Corporation (EIDC), The Creative Coalition (TCC) and the Screen Actors Guild (SAG). Assembly Member Frommer is chair of the Select Committee on the Future of California’s Film Industry. This is a revised version of the report. Internet Access This paper is also available through the Internet at the California State Library’s home page (www.library.ca.gov) under CRB Reports. Contents EXECUTIVE SUMMARY .............................................................................................. 1 I. OVERVIEW OF THE CALIFORNIA MOTION PICTURE INDUSTRY............ 5 SIZE AND GROWTH OF THE CALIFORNIA MOTION PICTURE INDUSTRY ............................ 5 The Motion Picture Industry Measured by the Value of Output During the 1990s.... 5 The Motion Picture Industry Measured by Employment ........................................... -
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.