Entertainment Architecture
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Transmedia Storytelling Hyperdiegesis, Narrative Braiding
Transmedia Storytelling Hyperdiegesis, Narrative Braiding and Memory in Star Wars Comics William Proctor Since at least the turn of the twentieth century, the comic book medium has grown in dialogue alongside other media forms, both old and new, underscored by what is commonly described as adaptation. In basic terms, adaptation refers to a process whereby stories are lifted from one medium and replanted in another. Of course, the process is more complicated than that as different media each bring different creative requirements and, as a result, adaptation is never simply about reproducing a story in exactly the same way—although it is about reproduction, to some degree. Put simply, adaptation refers to the retelling of a story in a new media location. For example, each installment of Warner Bros.’ Harry Potter film series—from Harry Potter and the Sorcerer’s Stone to Harry Potter and the Deathly Hallows—are adaptations of novels written by J.K Rowling, each ‘retelling’ the same story in the process from book-to-film. The caveat here is that such a retelling also involves revising narrative elements, and even editing or reframing scenes from the ‘source’ text to better-fit the ‘target’ medium. Variations as well as repetition are key factors to consider, as adaptation theorist Linda Hutcheon notes (2006). The contemporary landscape is brimming with adaptations of all sorts, but perhaps the most common example in the twenty-first century are the bevvy of film and TV series based on comic books, many of them produced by the ‘big two’ superhero publishers, Marvel and DC, as film scholar Terence McSweeney argues: “We are living in the age of the superhero and we cannot deny it” (2018, 1). -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
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. -
Designing an Educational Alternate Reality Game
Running Head: EDUCATIONAL ALTERNATE REALITY GAME Designing An Educational Alternate Reality Game Randall Fujimoto Shoyu Learning Solutions Abstract An educational alternate reality game (ARG) is a social learning experience that takes place in both the real and online worlds using various puzzles and activities tied together though an emerging storyline. This project described the design, development, and prototype testing of Finding Identity, an educational, social studies ARG about the history of the Japanese Americans during World War II. The three research topics that this research project addressed were (a) the definition of an educational ARG, (b) the pedagogical benefits of an educational ARG, and (c) the features that could be included in an educational ARG instructional design model. Evaluation of the Finding Identity ARG found that ARGs have pedagogical benefits that can foster significant learning of new topics. However, because ARGs are a relatively new phenomenon, additional research is needed to fully ascertain their instructional potential. ii Table of Contents Abstract............................................................................................................................... ii CHAPTER ONE: INTRODUCTION................................................................................. 1 Statement of Purpose ...................................................................................................... 3 Rationale ........................................................................................................................ -
Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised. -
Entertainment Architecture
Entertainment Architecture Constructing a Framework for the Creation of an Emerging Transmedia Form by Adalbert (Woitek) Konzal Dipl.-Kfm. European Business School, Oestrich-Winkel, Germany A dissertation presented in fulfilment of the requirements for the degree of Doctor of Philosophy ARC Centre of Excellence for Creative Industries and Innovation Creative Industries Faculty Queensland University of Technology Brisbane, Australia 2011 Adalbert (Woitek) Konzal Entertainment Architecture Keywords film movie transmedia entertainment transmedia storytelling pervasive games ubiquitous games agency form evolution entrepreneurship business industry creative destruction marketing promotion — II — Adalbert (Woitek) Konzal Entertainment Architecture Abstract This thesis investigates the radically uncertain formal, business, and industrial environment of current entertainment creators. It researches how a novel communication technology, the Internet, leads to novel entertainment forms, how these lead to novel kinds of businesses that lead to novel industries; and in what way established entertainment forms, businesses, and industries are part of that process. This last aspect is addressed by focusing on one exemplary es- tablished form: movies. Using a transdisciplinary approach and a combination of historical analysis, industry interviews, and an innovative mode of ‘immersive’ textual analysis, a coherent and comprehensive conceptual framework for the creation of and re- search into a specific emerging entertainment form is proposed. That form, -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
Moving Pictures: the History of Early Cinema by Brian Manley
Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S. -
A Sense of Presence: Mediating an American Apocalypse
religions Article A Sense of Presence: Mediating an American Apocalypse Rachel Wagner Department of Philosophy and Religion, Ithaca College, Ithaca, NY 14850, USA; [email protected] Abstract: Here I build upon Robert Orsi’s work by arguing that we can see presence—and the longing for it—at work beyond the obvious spaces of religious practice. Presence, I propose, is alive and well in mediated apocalypticism, in the intense imagination of the future that preoccupies those who consume its narratives in film, games, and role plays. Presence is a way of bringing worlds beyond into tangible form, of touching them and letting them touch you. It is, in this sense, that Michael Hoelzl and Graham Ward observe the “re-emergence” of religion with a “new visibility” that is much more than “simple re-emergence of something that has been in decline in the past but is now manifesting itself once more.” I propose that the “new awareness of religion” they posit includes the mediated worlds that enchant and empower us via deeply immersive fandoms. Whereas religious institutions today may be suspicious of presence, it lives on in the thick of media fandoms and their material manifestations, especially those forms that make ultimate promises about the world to come. Keywords: apocalypticism; Orsi; enchantment; fandom; video games; pervasive games; cowboy; larp; West 1. Introduction Michael Hoelzl and Graham Ward observe the “re-emergence” of religion today with a “new visibility” that is “far more complex and nuanced than simple re-emergence of something that has been in decline in the past but is now manifesting itself once more” (Hoelzl and Ward 2008, p. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Designing Motion Graphics
RARITAN VALLEY COMMUNITY COLLEGE ACADEMIC COURSE OUTLINE ARTS 248: Designing Motion Graphics I. Basic Course Information A. Course Number and Title: ARTS-248 Designing Motion Graphics B. New or Modified Course: modified C. Date of Proposal: Semester: Spring Year: 2015 D. Effective Term: Spring 2016 E. Sponsoring Department: Visual and Performing Arts F. Semester Credit Hours: 3 G. Weekly Contact Hours: 4 Lecture: 2 Laboratory: 2 H. Prerequisites: ARTS-246 Visual Design I I. Laboratory Fees: yes J. Name and Telephone Number or E-Mail Address of Department Chair at time of approval: Co-Chairs: Donna Stackhouse x8298, Dennis Russo x8391 II. Catalog Description Prerequisite: ARTS-246 Visual Design I This course covers the concepts and techniques of creating motion graphics. Students will create original animations in traditional media, via timeline based programs, and through using character motion simulation tools. Students will purchase some art supplies. III. Statement of Course Need A. Designing Motion Graphics develops a student’s ability to understand and create animated environments. It continues an emphasis on good art and design skills while addressing the challenges of creating moving graphics. This course also addresses the critical and ethical concerns regarding the production and consumption of animated media. B. This course has a lab component. It is a studio art course and requires students to use special facilities such as a computer lab, studio areas, and to use artistic materials under the guidance of the instructor or lab technician. C. This course generally transfers as an elective Studio Art Course in design and visual communications program requirements. -
Play Chapter: Video Games and Transmedia Storytelling 1
LONG / PLAY CHAPTER: VIDEO GAMES AND TRANSMEDIA STORYTELLING 1 PLAY CHAPTER: VIDEO GAMES AND TRANSMEDIA STORYTELLING Geoffrey Long April 25, 2009 Media in Transition 6 Cambridge, MA Revision 1.1 ABSTRACT Although multi‐media franchises have long been common in the entertainment industry, the past two years have seen a renaissance of transmedia storytelling as authors such as Joss Whedon and J.J. Abrams have learned the advantages of linking storylines across television, feature films, video games and comic books. Recent video game chapters of transmedia franchises have included Star Wars: The Force Unleashed, Lost: Via Domus and, of course, Enter the Matrix ‐ but compared to comic books and webisodes, video games still remain a largely underutilized component in this emerging art form. This paper will use case studies from the transmedia franchises of Star Wars, Lost, The Matrix, Hellboy, Buffy the Vampire Slayer and others to examine some of the reasons why this might be the case (including cost, market size, time to market, and the impacts of interactivity and duration) and provide some suggestions as to how game makers and storytellers alike might use new trends and technologies to close this gap. INTRODUCTION First of all, thank you for coming. My name is Geoffrey Long, and I am the Communications Director and a Researcher for the Singapore‐MIT GAMBIT Game Lab, where I've been continuing the research into transmedia storytelling that I began as a Master's student here under Henry Jenkins. If you're interested, the resulting Master's thesis, Transmedia Storytelling: Business Aesthetics and Production at the Jim Henson Company is available for downloading from http://www.geoffreylong.com/thesis.