ED 456G Intermediate / Senior Social Studies I (3 Credits) Spring/Summer 2014
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Plan Technologique 2016-2020
L’ONF EST UN PRODUCTEUR ET DISTRIBUTEUR PUBLIQUE D’OEUVRES AUDIOVISUELLES. • Établis en 1939. • Plus de 14,000 productions dont 200 en développement chaque année. • 13 studios dans 9 villes canadiennes. • Principalement des documentaires, animations et des œuvres interactives. • 75 nominations aux Oscar®, plus de 5,000 prix. Inventaire • Collection d’oeuvres - 14 000 linéaires ( 10 000 en format pellicule, 3000 en format vidéos et 1000 en format « Born Digital ») - 100 intéractives (web, application) •Plans d’archives 4000 heures ou 60 000 plans •Musique et effets sonores 20 0000 effets et 6000 rubans-maître de musique •Photos 500 000 éléments Plan de numérisation et conservation En 2008 l’ONF à démarrer la mise en oeuvre d’un vaste plan de numérisation et conservation. 1. Favoriser l’accessibilité actuelle et future des œuvres de l’ONF en formats numériques. 2. Assurer la préservation des Objectifs œuvres de l’ONF sur les supports numériques. 3. Restaurer les œuvres de l’ONF ayant subi des détériorations dues à l’usure. Plan de numérisation et conservation À date nous avons numérisé toutes les œuvres de la collection active (soit 60 % des oeuvres). Afin de répondre aux demandes d’accessibilité courantes de l’ONF Ainsi, nous traitons 8000 titres. Ils se répartissent ainsi : - 1500 titres en 35 mm - 4500 titres en 16 mm - 1500 titres en vidéo (SD ou HD) - 500 titres « Born Digital » Nous numérisons nos œuvres sur film dans les résolutions suivantes : - 3K - les œuvres en bon état en format 16 mm ou en 35 mm - 6K - les œuvres patrimoniales en 16 mm et en 35 mm, les œuvres à risque en 16 et 35 mm Les œuvres en format vidéo (SD et HD) et Born Digital dans la meilleure résolution offerte par la source. -
Webdocumentário E As Funções Para a Interação No Gênero Emergente: Análise De Fort Mcmoney E Bear 71
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO GRANDE DO SUL ― PUCRS UNIDADE ACADÊMICA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO SOCIAL FERNANDA BERNARDES WEBDOCUMENTÁRIO E AS FUNÇÕES PARA A INTERAÇÃO NO GÊNERO EMERGENTE: ANÁLISE DE FORT MCMONEY E BEAR 71 Porto Alegre 2015 Fernanda Bernardes WEBDOCUMENTÁRIO E AS FUNÇÕES PARA A INTERAÇÃO NO GÊNERO EMERGENTE: Análise de Fort Mcmoney e Bear 71 Dissertação apresentada como requisito para obtenção do título de Mestre pelo Programa de Pós- Graduação em Comunicação Social da Faculdade de Comunicação da Pontifícia Universidade Católica do Rio Grande do Sul ― PUCRS. Orientador: Roberto Tietzmann. Porto Alegre 2015 Fernanda Bernardes WEBDOCUMENTÁRIO E AS FUNÇÕES PARA A INTERAÇÃO NO GÊNERO EMERGENTE: Análise de Fort Mcmoney e Bear 71 Dissertação apresentada como requisito para obtenção do título de Mestre pelo Programa de Pós- Graduação em Comunicação Social da Faculdade de Comunicação da Pontifícia Universidade Católica do Rio Grande do Sul ― PUCRS. Aprovada em ___ de ____________ de ____. BANCA EXAMINADORA Orientador: Prof. Dr. Roberto Tietzmann – PUCRS Prof. Dr. André Fagundes Pase – PUCRS Prof.ª Dr.ª Miriam de Souza Rossini – UFRGS LISTA DE IMAGENS Figura 1. Proposta de leitura dos gêneros documentário interativo e webdocumentário ......... 19 Figura 2. Navegação em Aspen Movie Map ............................................................................. 28 Figura 3. Cena de Moss Landing ............................................................................................. -
Interactive Project Proposals: the Early Stages
Working With the NFB’s Digital Studio June 2015 Working With the NFB’s Digital Studio As a unique creative and cultural laboratory, The NFB is eager to explore what it means to “create” and “connect” with Canadians in the age of technology. We are looking to work with a wide range of Canadian artists and media-makers interested in experimenting with the creative application of platforms and technology to story and form. Filmmakers, Interactive Designers, Photographers, Social Media Producers, Graphic Artists, Information Architects, Writers, Video and Sound Artists, Musicians, etc. We are excited by the collaborative nature of media today and are open to receiving project proposals from all types of artists and creators. What Kinds of Creations? As a public producer we have a duty to contribute to the ongoing social discourse of the day through the production of creative audiovisual works. We remain convinced of the powerful and transformative effects of art and imagination for the public good. We have a strong code of ethics that guides our work including the importance of an artistic voice and a diversity of voices, authenticity and creative excellence, innovation and risk taking, social relevance and the promotion of a civic, inclusive democratic culture. Our approach to story is innovative, open-ended, and participatory. We strive to create groundbreaking works that harness the appropriate technologies for each story and/or audience group, and contain built-in channels that open the project up for direct engagement. We are currently looking to produce new works that help us achieve our mission including interactive documentaries, mobile and locative media, interactive animations, photographic art and essays, data visualizations, physical installations, community media, interactive video, user- generated media, etc. -
Immersion in Interactive Documentaries: a Game-Studies-Driven Approach in a Case Study of Bear 71
IMMERSION IN INTERACTIVE DOCUMENTARIES: A GAME-STUDIES-DRIVEN APPROACH IN A CASE STUDY OF BEAR 71 Simo Hakalisto University of Tampere Faculty of Communication Sciences (COMS) Master’s Degree Programme in Internet and Game Studies Master’s Thesis December 2017 UNIVERSITY OF TAMPERE, Faculty of Communication Sciences (COMS) Master’s Degree Programme in Internet and Game Studies HAKALISTO, SIMO: Immersion in Interactive Documentaries: A Game-Studies-Driven Approach in a Case Study of Bear 71 Master’s thesis, 78 pages, 7 pages of appendices December 2017 Interactive documentaries can engage and involve their users in ways differing from traditional narrative-affective viewing experience of a documentary film. Interactive platforms can encourage for example more participative, kinaesthetic, playful and social interaction. However, interactive documentaries have in some degree failed to find and engage their users. Consequently, understanding the variety of users’ experiences with interactive documentaries has become increasingly important. The purpose of this thesis is to provide understanding of the variety of user engagement and immersion in interactive documentaries through a case study of NFB’s web-based interactive documentary Bear 71. Since interactive documentaries and games share increasingly similar characteristics, a game immersion studies framework, Calleja’s Player Involvement Model, is applied in the study. Immersion and the means to engage with documentary artefact are closely related to textual interpretation and meaning- making. Thus, the study combines methodologies from interactive documentary reception studies and game immersion studies to create methodological triangulation suitable for understanding different aspects of immersive interactive documentary experience. Two main modes of immersion were found in the case study, i.e. -
Non-Linearity, Multiple Points of View and Intercultural Understanding. Interactive Documentaries As Sets of Possibilities to Ta
Repositorium für die Medienwissenschaft Anna Wiehl; Judith Aston Non-linearity, multiple points of view and intercultural understanding. Interactive documentaries as sets of possibilities to tackle the complexities of 21st century's socio-cultural reality 2016 https://doi.org/10.25969/mediarep/3644 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Wiehl, Anna; Aston, Judith: Non-linearity, multiple points of view and intercultural understanding. Interactive documentaries as sets of possibilities to tackle the complexities of 21st century's socio-cultural reality. In: AugenBlick. Konstanzer Hefte zur Medienwissenschaft. Heft 65/66: Die Herstellung von Evidenz (2016), S. 113– 118. DOI: https://doi.org/10.25969/mediarep/3644. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. -
Version Téléchargeable Comme Quatre Saisons Dans La Vie De Ludovic Et L’Univers De Co Hoedeman Ou Mclaren - L’Intégrale Offrent Des Modèles Intéressants »
Une visite guidée exceptionnelle sur Le Blog documentaire , avec une destination de choix ! Un havre de paix et de création, une pépinière de talents en devenir ou confirmés, un territoire où l'on se sent bien dès qu'on en pousse la porte. Bref, l'un des temples de la création (web)documentaire dans le monde... Plongée au cœur de l'Office National du Film du Canada , là où se pense et où se créé depuis 75 ans le présent et l'avenir des arts qui nous intéressent ici. © David Dufresne Si vous imaginiez l'ONF en plein centre de Montréal, juste à côté d'un parc dont cette ville a le secret, c'est raté - pour l'instant, tout du moins. Les locaux un peu austères sont situés au 3155, chemin de la Côte-de-Liesse, au bord d'une voie rapide en périphérie de la Métropole Québécoise... Un étrange no man's land qui abrite pourtant l'un des fleurons de la création documentaire (interactive). Pour se repérer dans ce dédale de couloirs aux allures d'hôpital ( « Il y a de toutes façons beaucoup de fous ici » , ironise Hugues Sweeney, producteur exécutif au studio interactif), un seul guide s'impose : Marie-Claude Lamoureux, qui est bien plus que la "relationniste médias" que présente sa carte de visite. Marie-Claude est une boule d'énergie à l'enthousiasme communicatif. Une québécoise alerte au verbe haut perché qui a l'audace du vinaigre sur les frites. Une boussole pour le visiteur, franche et sincère , avec qui il est très plaisant de refaire le monde (de la création) autour d'un café. -
Annual Report
ANNUAL REPORT 2014–2015 © 2016 National Film Board of Canada Published by Strategic Planning and Government Relations P.O. Box 6100, Station Centre-ville Montreal, Quebec H3C 3H5 Internet : onf-nfb.gc.ca E-mail: [email protected] Cover page: MCLAREN MUR À MUR (McLaren Wall-to-Wall), Quartier des spectacles | NFB, Montreal ISBN 0-7722-1276-7 1st Quarter 2016 Printed in Canada TABLE OF CONTENTS IN NUMBERS GOVERNMENT FILM COMMISSIONER’S MESSAGE FOREWORD HIGHLIGHTS AWARDS GOVERNANCE MANAGEMENT SUMMARY OF ACTIVITIES FINANCIAL STATEMENTS Annex I: NFB ACROSS CANADA Annex II: PRODUCTIONS Annex III: INDEPENDENT FILM PROJECTS SUPPORTED BY ACIC AND FAP FRAME X FRAME: ANIMATED FILM AT THE NFB Exhibit at Musée de la civilisation, Quebec City Photo: Jessy Bernier, Perspective Photo, 0148_relv_0001 December 4, 2015 The Honourable Mélanie Joly Minister of Canadian Heritage Ottawa, Ontario Minister: I have the honour of submitting to you, in accordance with the provisions of sec- tion 20(1) of the National Film Act, the Annual Report of the National Film Board of Canada for the period ended March 31, 2015. The report also provides highlights of noteworthy events of this fiscal year. Yours respectfully, Claude Joli-Coeur Government Film Commissioner and Chairperson of the National Film Board of Canada IN NUMBERS CAMPUS, A POWERFUL TEACHING TOOL FOR THE 21ST-CENTURY CLASSROOM P.4 | 2014-2015 2014–2015 – IN NUMBERS 61 10 5 3 original NFB films interactive public applications and co-productions websites installations for tablets digital documents supporting -
Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy Teorie Interaktivních Médií
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie interaktivních médií Současný interaktivní dokument Bakalářská diplomová práce Vypracovala: Anna Kaslová Vedoucí práce: Mgr. Pavlína Míčová 2017 1 Prohlašuji, že jsem bakalářskou práci vypracovala samostatně s využitím uvedených pramenů a literatury. V Brně 12. 5. 2017 ……………………………………………. Anna Kaslová 2 Osnova: 1. Úvod - Téma a cíl práce………………………………………………………………4 2. Lineární versus interaktivní dokument………………………………………………5 2.1. Definice lineárního dokumentárního filmu…………………………………….5 2.2. Definice interaktivního dokumentu..............................................................6 2.2.1. Interaktivita……………………………………………………………....13 2.2.2. Terminologie………………………………………………………..……15 2.3. Kontext vzniku interaktivního dokumentu…………………………………….15 2.3.1. Nelineární vyprávění a film……………………………………………..16 2.3.2. První interaktivní dokumenty…………………………………………...16 2.4. Web 2.0………………………………………………………………………….16 3. Institucionální zázemí interaktivních dokumentů………………………………....17 3.1. Trénink………………………………………………………………………….17 3.2. Produkce………………………………………………………………………...22 3.3. Financování……………………………………………………………………..29 4. Odborná reflexe…………………………………………….………………………..29 5. Závěr - etablovaný žánr nebo slepé rameno?.....................................................31 6. Anotace………………………………………………………………………...…….34 7. English Summary………………………………………………………………...….34 8. Seznam použité literatury, zdrojů a děl……………………………………………35 9. Příloha – případová studie projektu Prison Valley………………………………..39 3 1. -
Doc Collaboratif Emergence DEF MARS-ENG
Emergence Lab Collaborative tools 14 Initiating multiplatform program development for France/Canada co-productions Issues, terms, tools Produced by: Josette D. Normandeau, Claire Leproust and Erika Denis With collaboration from Boris Razon (France Télévisions), Hugues Sweeney (National Film Board of Canada), Margaux Missika (Upian), David Dufresne (author and filmmaker), Kevin Short (Ubisoft), Jonathan Belisle (SAGA) 1 Table of content Introduction .................................................................................................................................. 3 SECTION 1: ISSUES IN DIGITAL CO-PRODUCTION ...................................................................... 4 Reasons for the dynamism of France/Canada co-productions ........................................................... 4 Absence of a Franco-Canadian co-production treaty: impact on digital projects ........... 5 Eligibility criteria and financing mechanisms that are often difficult to reconcile: .................. 6 SECTION 2: TERMS OF COLLABORATION ................................................................................. 11 Co-production kick-off meeting ................................................................................................................................ 11 Financial contributions: .................................................................................................................................................... 11 What is an author? ............................................................................................................................................................. -
Preserving Interactives
Preserving Interactives White Paper May 2018 Author Erwin Verbruggen Sound and Vision Published with support from the Dutch Media Innovators programme. Cite as: Verbruggen, Erwin, Preserving Interactives (Hilversum, NL: Netherlands Institute for Sound and Vision, 2018). Words of thanks: To the panel / workshop participants & organizers: Marcel Privé (Archiefweb), Dan Tucker (Sheffield Doc/Fest), Hugues Sweeney, Loc Dao & Janine Steele (National Film Board of Canada), William Uricchio, Katerina Cizek, Sandra Rodriguez & Sarah Wolozin (MIT Open Documentary Lab), Myriam Achard (Phi Centre), Caspar Sonnen, Lieven Heeremans, Mikey Zbieranowski (IDFA DocLab), Jason Brush, Jesse de Vos (Sound and Vision), Patricia Aufderheide (American University), Rick Prelinger (Prelinger Archives), Nancy McGovern (MIT Libraries), Jason Scott (Internet Archive), Annet Dekker (UvA), Ingrid Kopp (Immerse), Mandy Rose (UWE Bristol), Jessica Brillhart, Alexandre Brachet & Margaux Missika (Upian), Marianne Lévy-Leblond, Gilles Freissinier & Stéphane Nauroy (ARTE France), Dragan Espenschied (Rhizome), Bruno Felix & Remco Vlaanderen (Submarine Channel), Klaus Rechert (Freiburg University), Brett Gaylor (Mozilla Foundation), Roel Wouters (Studio Moniker), Cal Lee (Chapel Hill University), David Desrimais (Jean Boîte Editions), John MacFarlane (POV) and Tatiana Villacob. To the reviewers & contributors: Caspar Sonnen & Mikey Zbieranowski (IDFA DocLab), Jesse de Vos, Rasa Bočytė, Johan Oomen (Sound and Vision), Thomas Drugeon (Ina), Maureen Pennock (British Library), -
Evaluating Interactive Documentaries: Audience, Impact and Innovation in Public Interest Media
Evaluating Interactive Documentaries: Audience, Impact and Innovation in Public Interest Media by Sean Peter Flynn B.A., Cinematic Arts (Critical Studies) University of Southern California, 2013 Submitted to the Program in Comparative Media Studies/Writing in partial fulfillment of the requirements for the degree of Master of Science in Comparative Media Studies at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 2015 © Sean Flynn. All rights reserved. The author hereby grants MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _________________________________________________________________________ Department of Comparative Media Studies July 24, 2015 Certified by: __________________________________________________________________________________ William Uricchio Professor of Comparative Media Studies Thesis Supervisor Accepted by: _________________________________________________________________________________ T.L. Taylor Director of Graduate Studies Comparative Media Studies 1 2 Evaluating Interactive Documentaries: Audience, Impact and Innovation in Public Interest Media by Sean Flynn Submitted to the Department of Comparative Media Studies On July 24, 2015, in partial fulfillment of the requirements for the degree of Master of Science in Comparative Media Studies Abstract Public interest media organizations are increasingly interested in experimenting with interactive and participatory -
Proposed Methodology for Studying and Analysing the New Documentary Forms
i i i i DOI: 10.20287/doc.esp17.dt01 Proposed methodology for studying and analysing the new documentary forms Arnau Gifreu-Castells* Resumo: O artigo apresenta uma metodologia original para estudar e analisar o docu- mentário transmedia e interativo. Proponho diretrizes para o ensino de três módulos independentes que apresentam o objeto de estudo na sua relação com três fases estrutu- radas: 1) precedentes e antecedentes, aparência da forma de expressão; 2) emergência e experimentação; e 3) consolidação e possível institucionalização. Palavras-chave: documentário; meio digital interativo; documentário interativo; me- todologia de ensino. Resumen: Este artículo presenta una propuesta metodológica original para estudiar y analizar el documental interactivo y transmedia. Propongo directrices para la en- señanza de tres módulos independientes que presentan el objeto de estudio en relación con tres fases estructuradas: (1) los antecedentes y antecedentes, la apariencia de la forma de expresión; (2) emergencia y experimentación; y (3) consolidación y posible institucionalización. Palabras clave: género documental; medio digital interactivo; documental interactivo; metodología de enseñanza. Abstract: This article presents an original methodological proposal for studying and analysing interactive and transmedia documentary. I propose guidelines for teaching three independent modules that present the study object in relation to three structured phases: (1) the precedents and antecedents, appearance of the expression form; (2) emergence and experimentation;