DOCSLIB.ORG

Disney, Walt Alberti, Leon Battista. See Also Linear Perspective

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Disney, Walt Alberti, Leon Battista. See Also Linear Perspective Abowd, Gregory, 217 Aura, 73–75. See also Benjamin, Aladdin 148. See also Animated film; Walter Disney, Walt Austen, Jane, 44 Alberti, Leon Battista. See also Linear Automaticity (of mediation), 25, 27– perspective 28, 33, 139–140 and linear perspective, 24, 251 window metaphor, 29, 31, 79, Back to the Future, 246–247 162, 235, 251 Bailly, David, 12, 37 Allegory Balsamo, Anne, 182, 237–240, 248– in digital art, 130, 133, 136–139 249, 252 Myst as, 94–96, 136, 144 Bambi, 173 Allen, Robert C., 193 Barlow, John Perry Alpers, Svetlana, 36–37 “Declaration of Independence,” 74, Altarpieces 76, 179–180 as hypermediated, 34–35 Baroque cabinets American Memory Project, 201 as hypermediated, 35–36 Index Civil war photograph of Atlanta, Barthes, Roland, 30, 268 202 Camera Lucida, 30n, 106, Amsterdam webcam, 82, 208–210. 110–112 See also Web cameras Baseball, 190–191 Amusement parks. See Theme parks Baudelaire, Charles, 72 Anderson, Christopher, 172 Baudrillard, Jean, 174, 194 Anderson, Laurie, 43 notion of simulacrum, 55, 213 Andreesen, Marc, 198 Bazin, Andre´, 25–26, 30 Animated film. See also Film Beauty and the Beast, 147–148. See also as remediation of computer graph- Disney, Walt ics, 147–150 Bell, Charles, 120 Anti-Cartesianism, 250–254. See also Marbles IX, 123–124 Descartes; Jay, Martin Bellocq, Ernest Antonioni, Michelangelo photograph of Mahogany Hall, Blow-up, 268–269 126, 128 films remediated by Myst, 97 Benedikt, Michael, 181 Apple (computer corporation) Benjamin, Walter Knowledge Navigator, 219 The Work of Art in the Age of Mechan- Arcade games, 34, 89–94. See also ical Reproduction, 73–75 Computer games; Video Berners-Lee, Tim, 197–198 games Big, 246–247 and new Times Square, 166–167 Blade Runner (computer game), 98 and social spaces, 102 Bloom, Harold, 49 Arkansas (multimedia splash screen), Body 13 as medium, 237–240, 254 Arlington (brothel in Storyville), 127 remediation of, 236–240 Ars Electronica, 143–144 and technology, 145 Artificial intelligence, 66, 161–162 Bodybuilding, 237–239 A-10 Attack! (computer game), 102 Boeing, 215–216 Atlanta Zoo, 246 Book of Hours (medieval manuscript), Auge´, Marc, 177–179 13 Augmented reality, 213–216. See also Bornstein, Kate, 239 Ubiquitous computing Bourdieu, Pierre, 250 Bowie, David, 42 Communications Decency Act, 210 Brainstorm, 166 Computer Brave New World, 46 as medium, 66 Bricken, Meredith, 22, 245, 251 Computer art. See Digital art and Elec- Britannica Online, 202–203 tronic art Bruckman, Amy, 262, 264 Computer games, 55, 81, 88–103 Bryson, Norman, 25, 27, 54 and pornography, 99–101 Bukatman, Scott, 175 remediate cinema, 47, 96–99 Butler, Judith, 84, 264 Computer (digital) graphics, 11, 26– 28, 106–107. See also Disney, Camelot, 148 Walt; Photorealism Camera lucida, 69 and animated film, 48, 147–150 Camp Snoopy, 175–176 and augmented reality, 216 Cartesian perspectivalism, 24, 249– and computer games, 94 251. See also Descartes; Jay, hypermediacy of, 34 Martin in live-action film, 153–155 and gendered gaze, 79 and movement from immediacy to 287 Catcher-cam, 191 hypermediacy, 128–129 Cathedral popularity of, 23 as hypermediated space, 34 ray-traced image, 124 Index Cavell, Stanley, 26, 26n, 27, 58 reality of, 58 on artist and the self, 121, 234, remediates painting, 69, 115– 236 119 on film and television, 186 remediates photography, 105, on modernist art, 270 129–130 The World Viewed, 58n and the self, 232, 235, 243, 245, CBS News, 269 252 CD-ROM (as medium), 42, 44–47, Computer interface, 29, 42. See also 53, 200 Graphical user interface CETH (Center for Electronic Texts in and PACMAN, 91 the Humanities), 201 Coney Island, 169, 178 Chase, Linda, 120–122 postcards of, 14, 170 Chatrooms, 261–262 Convergence, 185, 220–226. See also Chicago Columbian Exposition, 173 Push Chinatown, 97 economic aspects of, 222–223 Cinema of attractions. See Film Cooper, Alice, 42 Cinerama, 157 Cosmetic surgery, 237–239 Clark, T. J., 54n Cotten, Bob, 31 Clarke, Arthur C., 48, 58n Cottingly fairy photographs, 106– Classroom 2000, 217 107, 128 CNN Interactive (web site), 9, 209, Crary, Jonathan, 25, 37, 249 267–268 Cyberspace, 62, 74, 76, 168–183. See CNN News, 10, 189–191, 204. See also Internet; Virtual reality also Television and definition of the self, 166, Collage, 38–39, 41, 155 232, 251–254 digital photography as, 107 networked computer games as, Command-line interface, 32. See also 103 Computer interface; Graphical in Neuromancer, 181, 226 user interface as a nonplace, 179 Cyberspace (cont.) Doom (computer game), 29, 42, 55, remediates earlier media, 162 93 rhetoric of, 54 as desktop virtual reality, 48 and sexual transgressions, as interactive film, 47 260–261 as social space, 102–103 theology of, 180–183, 222 Dotan, Uri Hummingbird, 134–135 Daguerre, Louis Jacques Mande´, 70, Dragon’s Lair (arcade game), 94 72 Duchamps, Marcel Dawkins, Richard, 144 The Bride, 134 Degrees of freedom, 243–246 Dungeons and Dragons (game), 248, de Lauretis, Teresa, 82 258 Derrida, Jacques, 53n, 56 Du¨rer, Albrecht, 24 Of Grammatology, 30n and gendered gaze, 78–79, 83– Dery, Mark, 239–240 84 Descartes, Rene´ Unterweysung der Messung, 79 288 critique of, 250–254 Dutch art dualism, 237, 252 hypermediacy of, 36 and the ego or self, 248–254 Dutch painters Index Meditations, 248 as remediators, 45 and perspectivalism, 24 DVD (Digital Video Disk or Digital Desktop interface. See Graphical user Versatile Disk) See CD-ROM interface Desktop metaphor. See Graphical user Eastman, George, 70 interface Edgerton, Samuel, 24n Diana, Princess, 268–269 Edison, Thomas Alva, 174 Digital art, 132–145 Ekphrasis, 45 and automaticity, 139–140 Electronic art, 143–145. See also Digi- fantasy and allegory in, 135–139 tal art Digital compositing Electronic mail. See Email in film, 23, 48, 154 Email, 197 in television, 188 Embodiment. See Body Digital graphics. See Computer Emergency Broadcast Network (rock graphics music group), 53–54 Digital photography, 104–112. See Telecommunications Breakdown, 42– also Photography 43, 46, 257 and the desire for immediacy, Empathy, 245–246 110–112 Encarta (CD-ROM Encyclopedia by as hybrid, 28, 72 Microsoft), 46 and movement from immediacy to Encyclopedias, 46, 202–203 hypermediacy, 128 Englebart, Douglas, 31 and photographic truth, 106–110 Erasure (of mediation), 25, 27–28, 37, Diorama, 37 45, 54, 74, 101 Disclosure, 166 ESPN (television sports network), Disney, Walt, 169–173 191 Disneyland, 170–174 Estes, Richard, 120 Disney World, 170, 173, 177–178, Expanded Books (software by Voyager 226 Company), 46 Fairy Tale: A True Story, 106, 128 Gender. See also Body; Gendered gaze; Fantasia, 171 Self Fantastic voyage, 214 and MUDs, 262–265 Fantasy and remediation, 78–84 in digital art, 135–139 Gendered gaze, 78–84, 236–240, Feminist theory 253–254, 264–265 on gender, 264 Georgia Institute of Technology, 4, and the mediation of the body, 77, 163–164, 217, 246–247 237–240 Gergen, Kenneth Film, 146–158. See also Animated The Saturated Self, 257n film; Interactive film Gibson, William Benjamin on, 74–75 Neuromancer, 166, 175, 181, 226 cinema of attractions, 81, 155– Goings, Ralph, 120–123 158, 174, 254 Still Life with Creamer, 122–123, experimental or avant–garde, 125 154 Goldberg, Ken and gendered gaze, 78–83 Telegarden, 144 289 reality of, 58 Goodman, Nelson relationship to television, Languages of Art, 30n, 112 185–187 Graham, Billy, 171, 173 Index remediated by computer games, Graphical browser, 221 96–99 Graphical user interface (GUI), 31– remediates digital technology, 48, 32, 35, 47 149 and computer games, 90 as remediator of earlier technolo- and desire for immediacy, 23 gies, 67, 69 influence on television, 40 on virtual reality, 247 remediated by augmented reality, Film noir, 97 216 Filters (in computer graphics), Graphic design, 39 141–142 and the World Wide Web, Fisher, Philip, 58–59 197–200 Flaˆneur, 174 Greenaway, Peter Flight simulation (computer games), The Pillow Book, 155 9–11, 102 Prospero’s Books, 155 Flitterman-Lewis, Sandy, 186–187 Greenberg, Clement, 38, 38n, 39, 54, Fox (television network), 191 54n, 58, 58n Foucault, Michel, 21n, 37 Greene, Graham, 98 Frankenstein (film), 136 Grolier’s Electronic Encyclopedia, 46 Frankfurt School, 78 Grontkowski, Christine, 79 French Quarter (New Orleans), 177 Grossberg, Larry, 194 Freud, Sigmund, 81n Guinea Pig Television (web camera Fried, Michael, 54n, 58, 58n site), 208 Fry, Tony, 57n Gunning, Tom, 30, 81, 155–157, Futurists, 54, 74 174. See also Film, cinema of attractions Gabriel, Peter Gutenberg, Johannes, 68–69 Xplora 1, 42 GVU (Graphics, Visualization, and Gamman, Lorraine, 84 Usability) Center, Georgia In- Gargoyle MUD, 259. See also MUD stitute of Technology, 4 Hamilton, Richard, Interface designers, 248 Just What Is It That Makes Today’s Internet, 48, 180, 189–190 197, Homes So Different, So Appeal- 200–201, 203, 267. See also Cy- ing?, 38–39 berspace; World Wide Web Haptic feedback, 252 and convergence, 223 Haraway, Donna, 182 as cultural, political, economic notion of cyborg, 77, 237 force, 76, 182 Harpold, Terry, 101 and death of Diana, 269 Hart, Michael, 201 and democracy, 60, 74 Hayles, N. Katherine, 250–252 and freedom of expression, 210 Heart of Darkness, 201 monitoring function of, 223 Hegel, G. W. F. phone service on, 204 concept of sublation, 55n remediates and is remediated by Heim, Michael, 182 television, 224 Hine, Lewis, 70 remediates the telegraph, 197 Hitchcock, Alfred and ubiquitous computing, 222 290 and cinema of attractions, 157 and virtual community, 232, 258 narrative style remediated in The and web cameras, 205–207 Last Express, 98 Irigary, Luce, 79 Index Vertigo, 49, 80, 82, 97, 150–153, Ivins, William 165, 238–239 On the Rationalization of Sight, 24n Hodges, Larry, 4 and Virtual Gorilla, 247 James, William, 233–234, 248 experiment in virtual acrophobia, Jameson, Fredric, 56–57 163–166 Java (programming language), 210 Hollywood style, 150–153, 155–156.
Load more

Recommended publications
  • The Versatility of Visualization: Delivering Interactive Feature Film Content on DVD
    Nebula4.2, June 2007 The Versatility of Visualization: Delivering Interactive Feature Film Content on DVD. By Sarah Atkinson Abstract This article investigates how the film production process has been influenced by the DVD format of delivery. It discusses how the digital output is affecting the creative process of feature film production and the affect upon the visualization process during preproduction. It will deploy two case studies - M y Little Eye (2002, Dir: Marc Evans) and Final Destination 3 (2006, Dir: James Wong) – utilizing diagrammatical visualizations of their interactive content. Both these films produced additional content during the feature film production phase to offer viewers an alternate and interactive viewing experience on DVD. The article concludes by exploring how a current technological advancement, Blu Ray DVD Production, will act as a further catalyst to develop the interactive film genre beyond the initial phases investigated within the current case studies. Article The two most important aspects of visualization, the physical connections with the medium and the opportunity to review and refine work as it is created, are hard to implement because of the complexity of film production. (Katz, 1991:5) It has been 10 years since the mass inception of the so-called Digital Versatile Disc (DVD). Since that time, the market for DVD hardware and content has expanded exponentially. The DVD forum reported that ‘Film distributors depend more on DVD sales than box office takings.’ (July 31, 2006) Home video sales now account for nearly 60% of Hollywood’s revenue (LA Times 2004). The versatile format allows for a higher volume of media content to be stored and accessed in a non-linear manner.
    [Show full text]
  • De-Framing Video Games from the Light of Cinema
    Issue 04 – 2015 Journal –Peer Reviewed BERNARD PERRON Université de Montréal De-framing video [email protected] & DOMINIC ARSENAULT Université de Montréal games from the light [email protected] of cinema Interactivity is the cinema of the 21st century. David Cage (foreword of L’empire des jeux, 2005) ABSTRACT In this essay, we shall try to step back from a blinding cinema-centric approach in order to examine the impact such a framing has caused, to question its limi- tations, and to refect on the interpretive communities that have relied on flm (communities we are part of, due to our flm studies background) to position video games as an important cultural phenomenon as well as an object worthy of scholarly attention. Using Gaudreault and Marion’s notion of cultural series and wishing to spread a French theoretical approach we fnd very relevant to the discussion, we will question the bases on which we frame video games as cinema. This inquiry will focus on the audiovisual nature of both media and highlight their difering technical and aesthetic aspects, which will lead us to consider video games as being closer to other forms of audiovisual media. KEYWORDS: video game; cinema; theory; history; remediation It is difcult not to rephrase the theme of this issue and try to see outside its box. It seems that video games, since a while already, have been framed in the light of cinema by the designers, producers and scholars who have begun to study them. Indeed, as we have been doing for ten years throughout the activi- ties of the Ludiciné research group (www.ludicine.ca), flm theories have been one of the most important body of works used to analyse video games at the dawn of game studies.
    [Show full text]
  • Video-Based Interactive Storytelling
    4 Video-Based Interactive Storytelling This thesis proposes a new approach to video-based interactive narratives that uses real-time video compositing techniques to dynamically create video sequences representing the story events generated by planning algorithms. The proposed approach consists of filming the actors representing the characters of the story in front of a green screen, which allows the system to remove the green background using the chroma key matting technique and dynamically compose the scenes of the narrative without being restricted by static video sequences. In addition, both actors and locations are filmed from different angles in order to provide the system with the freedom to dramatize scenes applying the basic cinematography concepts during the dramatization of the narrative. A total of 8 angles of the actors performing their actions are shot using a single or multiple cameras in front of a green screen with intervals of 45 degrees (forming a circle around the subject). Similarly, each location of the narrative is also shot from 8 angles with intervals of 45 degrees (forming a circle around the stage). In this way, the system can compose scenes from different angles, simulate camera movements and create more dynamic video sequences that cover all the important aspects of the cinematography theory. The proposed video-based interactive storytelling model combines robust story generation algorithms, flexible multi-user interaction interfaces and cinematic story dramatizations using videos. It is based on the logical framework for story generation of the Logtell system, with the addition of new multi-user interaction techniques and algorithms for video-based story dramatization using cinematography principles.
    [Show full text]
  • Dialogues with the Machine, Or Ruins of Closure and Control in Interactive Digital Narratives
    Hoydis, J 2021 Dialogues with the Machine, or Ruins of Closure and Control in Interactive Digital Narratives. Open Library of Humanities, 7(2): 4, pp. 1–24. DOI: https://doi.org/10.16995/olh.4695 Dialogues with the Machine, or Ruins of Closure and Control in Interactive Digital Narratives Julia Hoydis, University of Graz, Austria, [email protected] The interrelations between literary studies and posthumanism deserve attention beyond the focus on the representation of posthuman identities on the story level. To explore these, this article looks at examples of interactive digital narratives (IDN): Bandersnatch (2018), a ‘choose-your-own- adventure’-type instalment of Netflix’s dystopian Sci Fi-anthology series Black Mirror, the short film The Angry River (2017), which employs gaze-detection technology to determine what viewers get to see, and the serious multi-platform videogame The Climate Trail (2019), specifically designed to move players ‘into action’. Straddling the border between ludology and narrative to varying degrees, all offer the chance of ‘do-overs’ and the exploration of complex patterns and processes. They raise questions about the co-production of pre-scripted meanings, about authorial and reader agency, conceptions of control, closure, and narrative (un)reliability. Thus, this article argues, they challenge ideas about the potential of narratives in and beyond posthuman digital environments. Open Library of Humanities is a peer-reviewed open access journal published by the Open Library of Humanities. © 2021 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
    [Show full text]
  • Landon Cat.PM
    VIDEO UNIVERSITY HOW TO START OR EXPAND A SUCCESSFUL HOME-BASED BUSINESS PRODUCING CORPORATE VIDEOS ■#77 PROFESSIONAL VIDEO PRODUCER - A Comprehensive Course If you love making videos as much as I do, you know it’s an expensive hobby. That’s why I produce videos for others. So they can help pay for my equipment. For the last 12 years I’ve been producing corporate videos, having been in the film and video business for over 20 years. And over those years I have learned a lot! NEW VIDEO What they don’t teach you in college College courses costing hundreds of dollars are great for learning the theory of visual communication, but they don’t teach you how to build a profitable business and support BUSINESSES ARE yourself. That’s why I wrote Professional Video Producer to show you the real world of video business from people who actually run successful production companies. In this HOTTER unique home study course you’ll discover the techniques and strategies used by large and small video production companies who’ve learned the most important lesson of all - how THAN EVER… to make a profit in this $8 BILLION business. But before we explore that, let me tell you the FOUR THINGS I LOVE about this work: ARE YOU 1. Variety Since I started producing corporate videos, I've been paid to learn about and produce GETTING YOUR videos on subjects ranging from dock building, lipstick manufacturing, electronic surveying, furniture sales training, computer programs, architecture, nursing, interstate highway SHARE? building, sexual harassment, waterfront reconstruction, book printing, food preparation and many more.
    [Show full text]
  • Video-Based Interactive Storytelling
    Edirlei Everson Soares de Lima Video-Based Interactive Storytelling TESE DE DOUTORADO DEPARTAMENTO DE INFORMÁTICA Programa de Pós-Graduação em Informática Rio de Janeiro August 2014 Edirlei Everson Soares de Lima Video-Based Interactive Storytelling TESE DE DOUTORADO Thesis presented to the Programa de Pós-Graduação em Informática of the Departamento de Informática, PUC-Rio as partial fulfillment of the requirements for the degree of Doutor em Informática Advisor: Prof. Bruno Feijó Rio de Janeiro August 2014 Edirlei Everson Soares de Lima Video-Based Interactive Storytelling Thesis presented to the Programa de Pós-Graduação em Informática, of the Departamento de Informática do Centro Técnico Científico da PUC-Rio, as partial fulfillment of the requirements for the degree of Doutor. Prof. Bruno Feijó Advisor Departamento de Informática - PUC-Rio Prof. Simone Diniz Junqueira Barbosa Departamento de Informática - PUC-Rio Prof. Helio Côrtes Vieira Lopes Departamento de Informática - PUC-Rio Prof. Angelo Ernani Maia Ciarlini UNIRIO Prof. Sean Wolfgand Matsui Siqueira UNIRIO Prof. José Eugenio Leal Coordinator of the Centro Técnico Científico da PUC-Rio Rio de Janeiro, August 4th, 2014 All rights reserved. No part of this thesis may be reproduced in any form or by any means without prior written permission of the University, the author and the advisor. Edirlei Everson Soares de Lima Graduated in Computer Science at Universidade do Contestado (2008), and received his Master Degree in Computer Science from Universidade Federal de Santa Maria (2010). He joined the Doctorate program at PUC- Rio in 2010, researching on interactive storytelling, games, artificial intelligence and computer graphics. In 2011 and 2012, his research on video-based interactive storytelling received two honorable mentions from the International Telecommunication Union (ITU).
    [Show full text]
  • USC School of Spring 2017—Mondays 10:00 – 13:50 Course Website: Ctcs505.Com
    CTCS 505 Survey of Interactive Media Units: 2.0 USC School of Spring 2017—Mondays 10:00 – 13:50 Course Website: ctcs505.com Cinematic Arts Instructor: Kiki Benzon Office: SCI 101c Cinema and Media Division Office Hours: by appointment Contact Info: [email protected] Teaching Assistant: Manouchka Labouba Office / Office Hours: by appointment Contact Info: [email protected] Course Description In this course, we will examine the history, aesthetics, and cultural implications of interactivity through media. Pursuing a spectrum of interactive avenues—cinematic, literary, artistic, virtual, ludic, communicative—we will consider the ways in which media work to mobilize creativity and extend individual and collective agency. Our exploration will involve critical analyses of media artifacts and the representation of the cultural effects of these artifacts in cinematic, online, and exhibitory contexts. We will also experience, play, and create interactive media works, and discuss practices in the field with industry, academic, and artistic specialists. Learning Objectives You will emerge from this course with - an enhanced understanding of interactive media modalities and their function in cultural evolution and exchange - a grounding in media theory in the contexts of critical theory and art history - insight into the interactive affordances of digital technology - familiarity with important interactive media applications in cinema, games, documentary, mixed-media/immersive storytelling, and installation/environmental art - critical writing on media theory, cultural studies, and interactive practices and artifacts - a creative work employing production technologies and software in interactive cinema, video games, augmented reality, digital narrative, or another media platform Required Readings and Supplementary Materials Readings will be provided as PDFs, which can be accessed on the course website, ctcs505.com.
    [Show full text]
  • New Frontier Showcases Storytelling's Future at 2017
    FOR IMMEDIATE RELEASE Media Contact: December 1, 2016 Spencer Alcorn 310.360.1981 [email protected] New Frontier Showcases Storytelling’s Future at 2017 Sundance Film Festival Virtual / Augmented Reality Experiences, Installations, Live Performances Lead Programming, Including Works by Saschka Unseld, Chris Milk, Terence Nance, Shaun Gladwell, Nonny de la Peña (L-R) ASTEROIDS!, Credit: Courtesy of Sundance Institute; Heroes, Credit:Jamie Caliri; Journey to the Center of the Natural Machine, Credit: Meta. Park City, UT — Now in its second decade of breaking new ground at the forefront of art and technology, Sundance Institute has curated an in-depth vision of storytelling’s future for the 2017 edition of New Frontier at the Sundance Film Festival, January 19-29 in Park City. The full slate — including storyworlds in Augmented Reality headsets, projection-mapped acrobatics, a VR beauty salon producing neuroscience data via the internet of things and a host of socialized, interactive and immersively haptic VR story experiences — stands as a testament to New Frontier’s expertise in identifying, developing and amplifying the most relevant and high-impact modes of tech-enabled narrative. Live performances, a feature film and augmented reality experiences will complement a total of 20 VR experiences and 11 installations, showcased between three venues in Park City. The historic Claim Jumper will host seven immersive installations focused on cross-disciplinary story construction and and two video works; the VR Palace will feature 15 VR experiences alongside additional installations; and the VR Bar will offer a lineup of mobile VR. Three projects are part of the Festival’s The New Climate program, which highlights the environment and climate change.
    [Show full text]
  • Beyond Panels Interactive Storytelling: Developing a Framework for Highly Emotive Narrative Experiences on Mobile Devices
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Beyond Panels Interactive Storytelling: Developing a Framework for Highly Emotive Narrative Experiences on Mobile Devices Michael Joseph Eakins University of Central Florida Part of the Arts and Humanities Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Eakins, Michael Joseph, "Beyond Panels Interactive Storytelling: Developing a Framework for Highly Emotive Narrative Experiences on Mobile Devices" (2017). Electronic Theses and Dissertations, 2004-2019. 6272. https://stars.library.ucf.edu/etd/6272 BEYOND PANELS INTERACTIVE STORYTELLING: DEVELOPING A FRAMEWORK FOR HIGHLY EMOTIVE NARRATIVE EXPERIENCES ON MOBILE DEVICES by MICHAEL JOSEPH EAKINS B.A. University of Central Florida, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Emerging Media in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2017 Major Professor: Rudy McDaniel and Joseph Fanfarelli © 2017 Michael Eakins ii ABSTRACT Balancing passive and interactive experiences within a narrative experience is an area of research that has broad applicability to the video game, cinematic, and comic book industries. Each of these media formats has attempted various experiments in interactive experience.
    [Show full text]
  • 52 Interactive Film Recombination
    Interactive Film Recombination FABRIZIO GUERRINI, NICOLA ADAMI, SERGIO BENINI, and ALBERTO PIACENZA, Department of Information Engineering, University of Brescia JULIE PORTEOUS, School of Computing, Teesside University Digital Futures Institute MARC CAVAZZA, School of Engineering and Digital Arts, University of Kent RICCARDO LEONARDI, Department of Information Engineering, University of Brescia In this article, we discuss an innovative media entertainment application called Interactive Movietelling. As an offspring of Interactive Storytelling applied to movies, we propose to integrate narrative generation through artificial intelligence (AI) planning with video processing and modeling to construct filmic variants starting from the baseline content. The integration is possible thanks to content description using semantic attributes pertaining to intermediate-level concepts shared between video processing and planning levels. The output is a recombination of segments taken from the input movie performed so as to convey an alternative plot. User tests on the prototype proved how promising Interactive Movietelling might be, even if it was designed at a proof of concept level. Possible improvements that are suggested here lead to many challenging research issues. CCS Concepts: • Computing methodologies → Scene understanding; Additional Key Words and Phrases: Interactive storytelling, logical story unit, semantic description, Markov chains, narrative modeling ACM Reference format: Fabrizio Guerrini, Nicola Adami, Sergio Benini, Alberto Piacenza,
    [Show full text]
  • AI in the Media and Creative Industries
    AI in the media and creative industries (Version 1 - April 2019) Editors: Baptiste Caramiaux ([email protected]), Fabien Lotte ([email protected]), Joost ​ ​ ​ ​ ​ Geurts ([email protected]) ​ ​ Contributors (in alphabetical order): Giuseppe Amato – CNR (it), Malte Behrmann - BBW (de), Frédéric Bimbot – CNRS & Inria (fr), Baptiste Caramiaux - CNRS & Inria (fr), Fabrizio Falchi - CNR (it), Ander Garcia - Vicomtech (es), Joost Geurts - Inria (fr), Jaume Gibert - Eurecat (es), Guillaume Gravier - CNRS & Inria (fr), Hadmut Holken - Holken consultants (fr), Hartmut Koenitz - HKU (nl), Sylvain Lefebvre - Inria (fr), Antoine Liutkus - Inria (fr), Fabien Lotte - Inria (fr), Andrew Perkis - NTNU (no), Rafael Redondo - Eurecat (es), Enrico Turrin - FEP (be), Thierry Viéville - Inria (fr), Emmanuel Vincent - Inria (fr) Abstract Thanks to the Big Data revolution and increasing computing capacities, Artificial Intelligence (AI) has made an impressive revival over the past few years and is now omnipresent in both research and industry. The creative sectors have always been early adopters of AI technologies and this continues to be the case. As a matter of fact, recent technological developments keep pushing the boundaries of intelligent systems in creative applications: the critically acclaimed movie “Sunspring”, released in 2016, was entirely written by AI technology, and the first-ever Music Album, called “Hello World”, produced using AI has been released this year. Simultaneously, the exploratory nature of the creative process is raising important technical challenges for AI such as the ability for AI-powered techniques to be accurate under limited data resources, as opposed to the conventional “Big Data” approach, or the ability to process, analyse and match data from multiple modalities (text, sound, images, etc.) at the same time.
    [Show full text]
  • ANNUAL REPORT 2016 the Bell Fund’S Mandate Is to Advance the Canadian Broadcasting System
    ANNUAL REPORT 2016 The Bell Fund’s mandate is to advance the Canadian broadcasting system The Bell Fund: • encourages and funds the creation of excellent Canadian digital media • stimulates partnerships and sustainable businesses in the broadcast, distribution and digital/new media sectors • funds, undertakes or publishes research and shares knowledge • enhances the national and international position of industry stakeholders Since 1997 the Bell Fund has received over $190 million in financial contributions from Bell TV to support the development and production of cross-platform digital media and TV content. In 2001 the Bell Fund was awarded an endowment of $10 million from Bell TV, as a result of a tangible benefits package. The revenues generated by this endowment are made available for development funding. 2 ANNUAL REPORT 2016 MANDATE 2 CHAIR’S MESSAGE 4 BOARD OF DIRECTORS 6 STAFF 9 2016 RESULTS 11 BROADCASTERS 14 PRODUCTION 15 English Projects 16 French Projects 44 CANADA 150 58 PERFORMANCE ACCELERATOR 59 English Projects 60 French Projects 60 DEVELOPMENT 61 English Projects 62 French Projects 63 TV DEVELOPMENT ONLINE 64 English Projects 65 French Projects 65 PROFESSIONAL DEVELOPMENT 66 MEASURE OF SUCCESS 68 2016 AWARDS 70 3 Chair’s Message Bell Fund supports the development, production, and discoverability As we begin our 20th year, of innovative digital content associated with television programs as Bell Fund is vigorously well as industry professional development and research. In 2016 The working with producers to Bell Fund awarded grants totaling $21.3 million to 176 English and adapt to the new norms French language projects benefitting 77 digital media production/ in our industry.
    [Show full text]