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New Mode of Cinema V1n1
New Mode of Cinema: How Digital Technologies are Changing Aesthetics and Style Kristen M. Daly, Columbia University, New York Abstract This article delves intrinsically into how the characteristics of digital cinema, its equipment, software and processes, differ from film and therefore afford new aesthetic and stylistic modes, changing the nature of mise-en-scène and the language of cinema as it has been defined in the past. Innovative filmmakers are exploring new aesthetic and stylistic possibilities as the encumbrances of film, which delimited a certain mode of cinema, are released. The article makes the case that the camera as part of a computer system has enabled a more cooperative relationship with the filmmaker going beyond Alexandre Astruc’s prediction of the camera-pen (camére-stylo) to become a camera-computer. The technology of digital cinema makes the natural indexicality of film and the cut simply options amongst others and permits new forms of visual aesthetics not premised on filmic norms, but based on other familiar audiovisual forms like video games and computer interface. Voir le résumé français à la fin de l’article ***** “We see in them, if you like, something of the prophetic. That’s why I am talking about avant-garde. There is always an avant-garde when something new takes place . .” (Astruc, 1948, 17) In this article, I will examine some of the material qualities and characteristics of the equipment, software and processes of digital cinema production and propose how these afford a new aesthetics and style for cinema. Of course, many styles are available, including the status quo. -
The Evocation and Expression of Emotion Through Documentary Animation
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Mobbs, Sophie (2016) The evocation and expression of emotion through documentary animation. Animation Practice, Process & Production, 5 (1) . pp. 79-99. ISSN 2042-7875 [Article] (doi:10.1386/ap3.5.1.79_1) Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/19893/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
Redalyc.INDEXICALITY and SPECTATORSHIP in DIGITAL MEDIA
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Marshall, Erik INDEXICALITY AND SPECTATORSHIP IN DIGITAL MEDIA: WAKING LIFE AS HYBRID DIGITAL ARTIFACT Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 51, julio-diciembre, 2006, pp. 301-316 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348689016 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Indexicality and spectatorship in digital media ... 301 INDEXICALITY AND SPECTATORSHIP IN DIGITAL MEDIA: WAKING LIFE AS HYBRID DIGITAL ARTIFACT Erik Marshall Wayne State University Abstract This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface. Keywords: digital; realism; spectatorship. -
Fantasy Versus Reality: a Twenty-First Century Film Series to Explore How
University of Montana ScholarWorks at University of Montana Undergraduate Theses and Professional Papers 2018 Fantasy versus Reality: A Twenty-First Century Film Series to Explore How the Absurdity of Alternate Realities Affects the Individual in the Audience Courtney Wunderwald University of Montana, Missoula, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/utpp Part of the Critical and Cultural Studies Commons, and the Visual Studies Commons Recommended Citation Wunderwald, Courtney, "Fantasy versus Reality: A Twenty-First Century Film Series to Explore How the Absurdity of Alternate Realities Affects the Individual in the Audience" (2018). Undergraduate Theses and Professional Papers. 188. https://scholarworks.umt.edu/utpp/188 This Thesis is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in Undergraduate Theses and Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Wunderwald i FANTASY VERSUS REALITY: A TWENTY-FIRST CENTURY FILM SERIES TO EXPLORE HOW THE ABSURDITY OF ALTERNATE REALITIES AFFECTS THE INDIVIDUAL IN THE AUDIENCE By COURTNEY NICOLE WUNDERWALD Undergraduate Thesis presented in partial fulfillment of the requirements for the University Scholar distinction Davidson Honors College University of Montana Missoula, MT Official Graduation Date May 2018 Approved by: Dr. Robert Tuck, Faculty Mentor and Assistant Professor of Japanese Modern and Classical Languages and Literatures Dr. Eliot Graham, Teaching, Research & Mentoring Fellow Davidson Honors College Dr. Rachel Gross, Teaching, Research & Mentoring Fellow Davidson Honors College ABSTRACT Wunderwald, Courtney, B.A., May 2018 Spanish Fantasy versus Reality: A Twenty-First Century Film Series to Explore How the Absurdity of Alternate Realities Affects the Individual in the Audience Faculty Mentors: Dr. -
Présente Un Film De Richard Linklater Www
Présente Un film de Richard Linklater www.scannerdarklymovie.com WARNER INDEPENDENT PICTURES Présente En association avec THOUSAND WORDS Une production SECTION EIGHT / DETOUR FILMPRODUCTION / 3 ARTS ENTERTAINMENT Un film de RICHARD LINKLATER KEANU REEVES ROBERT DOWNEY JR. WOODY HARRELSON WINONA RYDER RORY COCHRANE Écrit et réalisé par RICHARD LINKLATER D’après le roman de PHILIP K. DICK «Substance mort», paru aux éditions Denoël, collection Folio SF Producteurs PALMER WEST JONAH SMITH - ERWIN STOFF ANNE WALKER-McBAY - TOMMY PALLOTTA Producteurs exécutifs GEORGE CLOONEY & STEVEN SODERBERGH - JENNIFER FOX PRESSE À CANNES BEN COSGROVE - JOHN SLOSS Co-productrice ERIN FERGUSON HÔTEL CARLTON Animation BOB SABISTON Salon La Croisette JASON ARCHER - PAUL BECK 58, bd La Croisette Animateurs principaux STERLING ALLEN 06400 CANNES EVAN CAGLE - NICK DERINGTON Tél. : 04 93 06 41 02 CHRISTOPHER JENNINGS - LANCE MYERS Fax : 04 93 06 40 91 Directeur de la photographie SHANE F. KELLY Chef décorateur BRUCE CURTIS Chef monteuse SANDRA ADAIR, A.C.E. Musique GRAHAM REYNOLDS Chef costumière KARI PERKINS Casting DENISE CHAMIAN Sortie Automne 2006 Durée : 1h40 www.scannerdarklymovie.com DISTRIBUTION PRESSE WARNER BROS. Pictures France Carole Chomand 115-123, avenue Charles-de-Gaulle Assistée de Sabri Ammar 92 200 Neuilly-Sur-Seine Tél. : 01 72 25 10 83 / 11 16 Inspiré des expériences du légen- daire auteur de science-fiction Philip K. Dick, A SCANNER DARKLY est une parabole tragi-comique sur l’usage de la drogue dans le monde moderne. Tel un roman graphique «live», le film 2 Une banlieue d’Orange County (Californie), en 2013… superpose prises de vue réelles et 3 L’interminable et vain combat de l’Amérique contre la drogue se confond créations infographiques sophisti- quées, selon une technique inaugurée désormais avec sa guerre contre le terrorisme. -
Celuloide Alucinado: Los Efectos De Las Drogas Como Estilo Fílmico En La Posmodernidad Cinematográfica
UNIVERSIDAD DE MURCIA DEPARTAMENTO DE INFORMACIÓN Y DOCUMENTACIÓN Celuloide Alucinado: Los Efectos de las Drogas como Estilo Fílmico en la Posmodernidad Cinematográfica D. José Ramón García Chillerón 2015 UNIVERSIDAD DE MURCIA DEPARTAMENTO DE INFORMACIÓN Y DOCUMENTACIÓN Celuloide alucinado: los efectos de las drogas como estilo fílmico en la posmodernidad cinematográfica Director: José Gabriel Ferreras Rodríguez D. José Ramón García Chillerón 2015 A Ramón Garza y Paco Miranda, habitantes eternos de mi infinito interno. AGRADECIMIENTOS Este trabajo nunca hubiera visto la luz ni hubiera sido como es si estas personas no se hubieran cruzado en mi camino. Por esta razón quisiera darles las gracias: Al Doctor José Gabriel Ferreras Rodríguez, por haber confiado desde el principio en este trabajo y mostrar una disposición inquebrantable y una paciencia infinita a la hora de atender mis dudas durante el proceso de elaboración de esta tesis. Sin duda, sus inestimables aportaciones, sus sabios consejos y su absoluta entrega como director han sido fundamentales para que esta tesis saliera adelante. A Ángel Cruz, por ponerme en contacto con Gabi haciendo así posible que esta investigación comenzara a rodar. A mis padres, por educarme en la creencia de que la cultura y el arte son indispensables para convertirse en un ser humano pleno y feliz. A Susana y Erica, por estar en mi vida y hacer de mí una mejor persona. Índice 1. Introducción ................................................................................................................ -
Believing Animated Films Featuring Digital Humans: a Qualitative Inquiry Using Online Sources
Accepted, pre-published copy for University Repository Richard Hetherington and Rachel McRae. Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources. animation: an interdisciplinary journal Vol. 12, Issue 2, pp. xx-xx. Copyright © 2017 (SAGE Publishing). Reprinted by permission of SAGE Publications. Corresponding author: Richard Hetherington, School of Computing, Edinburgh Napier University, 10 Colinton Road, EH10 5DT, UK. Email: [email protected] Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources Richard Hetherington and Rachel McRae School of Computing, Edinburgh Napier University, UK Abstract A qualitative inquiry of reviews of films featuring digital humanlike characters was performed by sampling user comments from three online reviewer aggregator sites: the Internet Movie Database, Rotten Tomatoes and Metacritic. The movies chosen for analysis were: Final Fantasy: The Spirits Within (2001), The Polar Express (2004), and Beowulf (2007), all produced using CGI animation, together with A Scanner Darkly (2006a) whose visuals are depicted by rotoscoping using Bob Sabiston’s Rotoshop software. Our analysis identified individual differences in the viewing experience, particularly in relation to the uncertain ontology of the humanlike characters created using CGI (CGI-Humans). We found examples of reviews indicating an inability to distinguish between real and CGI-Human actors, observations of characters transiently exhibiting realism before returning to their artifice, and of characters being viewed as eerie (analogous to the uncanny valley) thus illustrating a complex and dynamic response to this phenomenon. In some situations character uncanniness was related to the presence of an atypical feature such as movement of the eyes. -
Richard Linklater Animates a Philip K. Dick Sci-Fi Classic
res magazine jan / feb 2006 WHAT A SCANNER SEES: Richard Linklater Animates a Philip K. Dick Sci-Fi Classic Words: Jesse Ashlock occupies a squat, generic ’70s building that looks like it might harbor a shady “In general, sci-fi isn’t my genre,” Linklater acknowledges. “What moved me They also had a unique personal relationship to the material. “When we sat insurance company or telemarketing firm, on a low-rent commercial stretch of about Scanner is it always seemed personal. It felt like, ‘Oh, he lived this down and met, Rick pulled out the dedication page from Scanner. That’s the Every middle class suburban neighborhood has that one house that doesn’t north Austin alongside Interstate 35. Virtually the only pedestrians are homeless world.’ And it’s just fucking sad. But it’s funny though. Hilarious. It’s a lot first thing he showed us,” says Leslie, sipping tea in a Berkeley café not far belong. In A Scanner Darkly, Richard Linklater’s animated adaptation of the people holding cardboard signs asking for handouts. “We’ve found needles like the real world, the reality of all of our lives.” Linklater wrote the script from where her father grew up. “He said, ‘I want you to know I’m adding this. I paranoid 1977 classic by Philip K. Dick which opens this March, the house out here,” says Tommy Pallotta, one of the film’s producers. “It’s kind of ironic.” after Waking Life came out, in the early days of the Patriot Act, which made want it to be rolling at the end.’ That was it. -
Paf 2011 Programme
Programme 8 – 11/12 2011 www.pifpaf.cz PAF 2011 Olomouc Thu 8/12 Fri 9/12 Sat 10/12 Sun 11/12 PAF Art 4:30 pm | FA | Rotoclips & Rotogames | lecture – Jiří 11:00 am | FA | Disneyfication | presentation of L.Gregor’s 10:00 am | FA | Waltz with Bashir | dir. Ari Folman | Israel 12:00 pm | FA | Scrooge McDuck and Chip: Neo-conserva- 8–11 December | Konvikt | Veronika Vlková | AV installation Neděla | PAF Rewind: Rotoscopy The rotoscoping book | Aport Animation Lukáš Gregor’s latest book Typol- 2008 | 90‘ | projection | PAF Rewind: Rotoscopy Waltz tive Americans | presentation – Matěj Dostálek | Goys and Konvikt Resident Veronika Vlková’s residential project will technique, with its ability to capture fluent movement, ogy and Behaviour of characters in Walt Disney Company with Bashir (2008) deals with the events of the Lebanon Birls in Animation The Duck Tales and Chip’n Dale Rescue be based on hidden and striking scenographical interventions has caught the attention of video clip and computer Film Animation dealing with Disney’s work from this unusual War in 1982. The film is director Ari Folman’s authentic Rangers series represent the American republican ideology into the interior of Konvikt. Two-dimensional objects; sets game creators. While for clips it serves as visual diversi- point of view, will be introduced during this year’s PAF. The search for recollections of a war experience that have of conservative values of the 1980s. It centres around family “glued together from paper and weirdly drawn“ – will complete fication, programmers use rotoscope to equip the game presentation of the book will be accompanied by samples. -
James Verdon 2012
Moving Images and the Real: The Responsibilities of Technology in Expressing Filmic Reality James Verdon Thesis submitted for the Degree of Doctor of Philosophy Swinburne University of Technology 2012 ABSTRACT Technologies of moving images have been representing reality since the late 1800s. Despite cinema and media histories documenting the relationships between moving images and reality, the vital philosophical enquiry into the mediation of this relationship by distinctive technologies of moving images is yet to be fully explored. This thesis considers successive transitions between technologies of moving images. It focuses on the relationships between technologies of moving images, these transitional phases and the reality such images represent. Crucial to this inquiry is the material relationship of moving images to physical reality. Rather than conforming to a dichotomy between analog and digital technologies, the thesis argues that only relationships between mechanical moving images and reality are indexical, as C S Peirce defines the term. Drawing on Peirce’s notion of indexicality and its application to nineteenth century photography, I argue how shifts in technology modulate the way that moving images represent reality and determine how they can be traced back to that referent. Central to the methodology of this argument is the application of empirical data to moving images that defines their material forms. The thesis demonstrates how the inclusion of engineering data into the discussion of the materiality of moving images demands new understandings of film, video and digital media with regard to their indexicality. In arguing from a predominantly theoretical viewpoint, current moving image theories do not sufficiently acknowledge the granularity of technology when describing indexical relationships between reality and moving images. -
A Scanner Darkly Wiki
A scanner darkly wiki A Scanner Darkly is a American animated science-fiction thriller film directed by Richard Linklater, based on the novel of the same name by Philip K. Dick. The film tells the story of identity and deception in a near-future dystopia constantly under intrusive high-tech police surveillance in the midst of a drug addiction Production company: Thousand Words; Section. A Scanner Darkly is a science fiction novel by American writer Philip K. Dick, published in The semi-autobiographical story is set in a dystopian Orange County, California, in the then-future of June , and includes an extensive portrayal of drug culture and drug use (both recreational and abusive). The novel is one Author: Philip K. Dick. A Scanner Darkly is a sci-fi thriller written and directed by Richard Linklater based on the novel of the same name by Philip K. Dick. Set in a near-future dystopia (a common Dickian theme), the film tells the story of identity and deception as citizens are constantly under intrusive high-tech police surveillance in the midst. Animation · An undercover cop in a not-too-distant future becomes involved with a dangerous new drug and begins to lose his own identity as a result. The results were hugely effective for the material and, five years later, he decided to use the technique again on his adaptation of Philip K. Dick's paranoid science fiction novel, A Scanner Darkly. Once again, the results are very impressive. In the near future, Bob Arctor (Keanu Reeves) an undercover cop, Rating: R (for drug and sexual content, langua. -
Discuss the Rotoscoping Technique Used in the Richard Linklater's Films
maperiaz 11/27/06 Realistic Unreality Richard Linklater produced two major motion pictures: Waking Life and A Scanners Darkly using the animation technique rotoscoping. The application of this method will be explored through introducing the rotoscope fundamentals, detailing its use in the computer age, reviewing Linklater’s motives for using animation, and finally by comparing the results of rotoscoping in both films. The technique was first developed by Max Fleischer in the early 20th century. Before computers a sequence of image frames were projected onto an animation stand called a rotoscope. An artist traced a frame or added an image to the frame. The concept of rotoscoping is analogous to "painting on movies". Computer hardware has replaced the rotoscope animation stand with Wacom pens and tablets, G5s, and digital cameras. Linklater used Rotoshop, software developed by Bob Sabiston, to digitally bring this technique to the films A Scanners Darkly and Waking Life. Here is an overview of the steps to create the rotsoscope effect in A Scanners Darkly (from reference 3): A) B) C) D) A) Film Director Richard Linklater shoots with digital cameras. Since details are added by animators, there are minimal costumes, props, and sets. B) Animate Artists use Wacom digital pens and tablets connected to Apple G5s running Rotoshop software to trace the movement of actors in a scene. Not every frame is hand-drawn; the software fills in the gaps. C) Enhance The animators use Rotoshop's masking, warping, and blending tools to enhance the 3-D effect. Then they add scenery and adjust the color.