JTEFS Volume 17(1)2015
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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. -
Strategic Master Plan Preview Museum
STRATEGIC MASTER PLAN PREVIEW MUSEUM MUSEUM OF SCIENCE FICTION Museum of Science Fiction: Strategic Master Plan Contact Any questions regarding this document should be directed to: Greg Viggiano Executive Director Museum of Science Fiction PO Box 88 Alexandria, VA 22313-0088 USA: EARTH: SOL: MILKY WAY [email protected] +1-703-629-4734 Museum of Science Fiction: Proprietary and Confidential 2 Museum of Science Fiction: Strategic Master Plan Document Change Control Date Version Author Change 01/09/2015 Draft .1 MG, RS Initial draft 01/16/2015 Draft .2 GRV. MS Formatting and updates 01/19/2015 Draft .3 JV, MS Updates GRV, JS, MS, 02/26/2015 Final 1.0 Final updates DB, HD Museum of Science Fiction: Proprietary and Confidential 3 Museum of Science Fiction: Strategic Master Plan Table of Contents BACKGROUND 5 MISSION 5 INTRODUCTION TO THE GENRE 5 What is science fiction 5 Why is science fiction important 6 Sub-Genres 6 Popular Media 7 Why is science fiction relevant 7 Why build a science fiction museum 7 STEM EDUCATION AND COMMUNITY INVOLVEMENT 8 Commitment to Education 8 PHASE 1: THE PREVIEW MUSEUM 8 Vision 8 Objectives 9 Target Audiences and Communities 9 Example Community 11 Overall Visitor Experience 11 Themes and Interpretive Threads Error! Bookmark not defined. Visitor Takeaways 12 Concept Exhibit Plan 12 ARCHITECTURE 17 Concept 17 Sociability 17 Program 19 Bubble Diagram 20 Floor Plan 20 Facade 20 Facade 21 Entry 21 APPENDICES 22 Appendix A: References Images 23 Museum of Science Fiction: Proprietary and Confidential 4 Museum of Science Fiction: Strategic Master Plan BACKGROUND The Museum of Science Fiction is a nonprofit organization, established in spring 2013. -
Animation 1 Animation
Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides. -
Cine-Excess 13 Delegate Abstracts
Cine-Excess 13 Delegate Abstracts Alice Haylett Bryan From Inside to The Hills Have Eyes: French Horror Directors at Home and Abroad In an interview for the website The Digital Fix, French director Pascal Laugier notes the lack of interest in financing horror films in France. He states that after the international success of his second film Martyrs (2008) he received only one proposition from a French producer, but between 40 and 50 propositions from America: “Making a genre film in France is a kind of emotional roller-coaster” explains Laugier, “sometimes you feel very happy to be underground and trying to do something new and sometimes you feel totally desperate because you feel like you are fighting against everyone else.” This is a situation that many French horror directors have echoed. For all the talk of the new wave of French horror cinema, it is still very hard to find funding for genre films in the country, with the majority of French directors cutting their teeth using independent production companies in France, before moving over to helm mainstream, bigger-budget horrors and thrillers in the USA. This paper will provide a critical overview of the renewal in French horror cinema since the turn of the millennium with regard to this situation, tracing the national and international productions and co-productions of the cycle’s directors as they navigate the divide between indie horror and the mainstream. Drawing on a number of case studies including the success of Alexandre Aja, the infamous Hellraiser remake that never came into fruition, and the recent example of Coralie Fargeat’s Revenge, it will explore the narrative, stylistic and aesthetic choices of these directors across their French and American productions. -
Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
Technology and Active Spectatorship: Investigating “Desktop Film” from Media Ecology Perspective E-ISSN 1981-4070E-ISSN Jing Yang1
Media Evolution, “Double-edged Sword” Technology and Active Spectatorship: investigating “Desktop Film” from media ecology perspective e-ISSN 1981-4070e-ISSN Jing Yang1 Abstract / UFJF de Juiz Fora Federal Universidade Desktop film or computer screen film is a film subgenre with all events and actions taking place on a screen of a computer and using the protagonist’s first-person perspective, em Comunicação de Pós-graduação do Programa Revista exemplified by The Den (2013), Open Windows (2014), Unfriended (2014), Unfriended: Dark Web (2018), Profile (2018) and Searching (2018). This paper mainly focuses on the desktop films with the theoretical framework of “Media Ecology”, aiming to investigate how the desktop film evolves and interacts with new media, digital technology, while influencing communication and spectatorship. Firstly, this paper discusses the evolution of cinema, which evolves through the interaction, co-existence and convergence with other media, as well as corresponds to the anthropotropic trend. Secondly, this paper investigates the digital media and technology in desktop films. “Desktop films” create cyberspaces and reproduce people’s virtual lives, revealing the influences of media technology, which is considered as a double-edged sword. Thirdly, this paper analyzes how desktop film exerts impacts on cinematic communication, while reshaping the spectatorship and audience’s viewing mechanism. “Desktop films” are suitable to be watched on computer, thus making audiences become active and have more autonomy. Keywords Desktop Film; Media Ecology; Evolution; Technology; Spectatorship. 1 Ph.D Student in School of Journalism and Communication, Peking University. E-mail: [email protected] Juiz de Fora, PPGCOM – UFJF, v. 14, n. 1, p. -
Film 185S Advanced Topics in Film Studies: Docu-Fiction
FILM 185S: Docu-Fiction UCSC Summer 18 A. Delgado Pereira Film 185S Advanced Topics in Film Studies: Docu-Fiction Summer 2018 (Session I) Tuesday + Thursday 01:00PM – 04:30PM Earth & Marine B210 Instructor: Arturo Delgado Pereira Dept. of Film and Digital Media [email protected] Office hours: Wednesday 2:30PM- 4:30PM (or By appointment) at McHenry LiBrary LoBBy. DESCRIPTION OF THE COURSE This course will explore documentary film approaches that call into question the traditional categories of “fiction” and “documentary”: hybrid films, documentary re-enactments, improvisational fictions, narrative provocations, performative documentaries, etc. Students will be able to identify the origins of film works that mix documentary and fictional film approaches, and some of their most remarkable examples, as well as evaluate how these techniques advance and/or hinder the documentary project. Students will be required to develop a short film proposal that uses "docufictional” approaches. Classes will be composed of lectures, critical viewing and discussion of screenings. LEARNING OUTCOMES After completing this course, you will be able to: Ø Explain the origins of film works that mix documentary and fictional film techniques. Ø Identify some of the most remarkable approaches used in so-called docu-fiction films. Ø Evaluate and describe how these techniques advance and/or hinder the documentary project. Ø Demonstrate knowledge of contemporary trends in form and content by creating meaningful, innovative and contemporary film projects ideas. REQUIRED MATERIAL Ø Articles and other assigned materials will be uploaded to the Canvas site of the course. https://its.ucsc.edu/canvas/canvas-student.html Ø Film material: Most required films are either held at the McHenry Library Digital Scholarship Commons (aka the “Media Center”) or can be streamed via Kanopy (the UCSC library streaming service): https://www.kanopy.com. -
Activist Media and Biopolitics. Critical Media Interventions in the Age Of
EDITED VOLUME SERIES innsbruck university press Wolfgang Sützl, Theo Hug (Eds.) ACTIVIST MEDIA AND BIOPOLITICS Critical Media Interventions in the Age of Biopower Wolfgang Sützl Theo Hug Institut für psychosoziale Intervention und Kommunikationsforschung, Universität Innsbruck The book is published in the framework of Fonds zur Förderung der wissenschaftlichen Forschung (FWF), Bundesministerium für Wissenschaft und Forschung (BMWF), Universität Innsbruck – Jubiläumsfonds and Hypo-Tirol Bank. © innsbruck university press, 2012 Universität Innsbruck 1st edition Copyright remains with the authors. Cover design by Victoria Hindley www.uibk.ac.at/iup ISBN 978-3-902811-04-2 CONTENTS 7 Introduction Wolfgang Sützl and Theo Hug, Editors BEYOND TACTICAL MEDIA 17 Mobile Bodies, Zones of Attention, and Tactical Media Interventions Carolyn Guertin 29 X_MSG: Unfolding Histories of Sex Work and Software in Invisible Activist Machinery Alexandra Jönsson and Cliff Hammett 39 Biopolitical Interventions in the Urban Data Space Clemens Apprich BORDERS AND BOUNDARIES 49 Off Limits: Elastic Border Regimes and the (Visual) Politics of Making Things Public Andreas Oberprantacher 67 Sexual and National Mobility-Visibility Regimes in Israel/Palestine, and How to Cross Through Them Roy Wagner 81 Sk-interfaces: Telematic and Transgenic Art’s Post-digital Turn to Materiality jan jagodzinski POLITICS 103 Virtual Suicide as Decisive Political Act Geoff Cox 117 Right Wing Activism: The Next Challenge for Alternative Media Scholarship Joshua Atkinson and Suzanne V.L. -
The Off-World Man Companion the Gordon
THE OFF-WORLD MAN COMPANION THE GORDON MARCUS PARKS NOVELLAS By G.K.Walker A Message from the Author The Off-World Man trilogy is simple exopolitical DISCLOSURE science fiction. SCIENCE FACTION. It is truth immersed in the veil of fiction, as all good sci-fi mysteries are. The Off-World Man Companion is the result of a three-decade journey of research into the military aerospace industrial complex. Stage Two, involves its introduction into as many fields of production as applicable; print media, Syfy Channel series and or Motion Picture franchise, producing the books as a film, graphic novel, and expanded novel series developing the ancillary characters. That’s my vision. This is a relevant, potentially profitable franchise on the level of the Star Wars and Star Trek franchises. I am a self-taught Mechanical and Industrial Designer and Conceptual Artist, specializing in creative design solutions. Author of the design engineering white paper, Formula One Geometry in Human Powered Land Vehicle Design; 20+ years of research into carbon fiber Forward Prone Position Speedframe Design and Construction. Author of The OFF-WORLD Man, a military science fiction novella series based on decades of research into the military aerospace community. I am a Type One Technology Researcher and novice Science Fiction Writer. I was accepted at the Art Center College of Design 1987. However, I was unable to attend due to financial hardship. I am self-educated, still hoping to go back to college one day and looking to fund a design studio and various business partnership ventures. I can only imagine how far I would have gone. -
Cultural Borrowings: Appropriation, Reworking, Transformation
Blank Page A Scope e-Book Cultural Borrowings: Appropriation, Reworking, Transformation Edited by Iain Robert Smith Published by: Scope: An Online Journal of Film and Television Studies, 2009 Copyright: Scope: An Online Journal of Film and Television Studies ISBN 978-0-9564641-0-1 Cover Design: Iain Robert Smith Photo Credits: Benjamin Miller and Bart Everson Table of Contents Notes on Contributors .................................................................................. i Acknowledgements ................................................................................... iv Foreword: Scope‘s Tenth Anniversary ........................................................... v Mark Gallagher and Julian Stringer Introduction .............................................................................................. 1 Iain Robert Smith 1 Part I: Hollywood Cinema and Artistic Imitation Exploitation as Adaptation ........................................................................... 8 I.Q. Hunter The Character-Oriented Franchise: Promotion and Exploitation of pre-sold characters in American film, 1913-1950 ...................................................... 34 Jason Scott Novelty through Repetition: Exploring the Success of Artistic Imitation in the Contemporary Film Industry, 1983-2007 .................................................... 56 Stijn Joye Part II: Found Footage and Remix Culture A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice on the Internet ........................................................................................... -
The Stop-Motion World of Antony Elworthy
Their Story FRAME BY FRAME Final passion project proposal by Julian Groves Image Source: http://www.trinityfilmreview.com/the-evolution-of-stopmotion-animation RESEARCH QUESTION How can I preserve a verbal story told to me by using stop-motion animation? EXPLANATION MOTIVATION & ASPIRATION I have a love of listening to, reading, and writing stories, When I I love film and movies, especially animation and stop-motion. I think was younger I wanted to be a Journalist and even wrote some stories stop-motion is a fascinating art form that incorporates many artistic for a small local newspaper. I like photography and animation and skills beyond using a computer and software. I love the work of Anna stop-motion seems to be a good way to combine the two. I love 3D Mantzaris, Adam Pesapane (PES), Antony Elworthy , Tim Burton, Wes animation but would like to broaden my skills so that I have more Anderson, Travis Night and studios like Fish, Watermark, Flux, Yukfoo, diversity when it comes to my abilities as a motion designer. I like Cirkus, The Rig, Mukpuddy, Passion, Laika and Aardman. As a motion how stop-motion requires other physical craft skills. I know for a fact designer any technique that deals with movement interests me. I have the art of face to face verbal storytelling is disappearing and would done some stop-motion experiments in the past and found it a fun and like to explore how these valuable personal and cultural stories can be creative technique to use and would like to explore the subject further. -
Docufiction in the Digital Age Tay Huizhen an Honours Thesis
Docufiction in the Digital Age Tay Huizhen An Honours Thesis submitted in part fulfilment of the requirements for the degree of Bachelor of Arts with Honours in English Literature The Department of English Language and Literature, National University of Singapore 9 April 2012 SIGNED STATEMENT This Honours Thesis represents my own work and due acknowledgement is given whenever information is derived from other sources. No part of this Honours Thesis has been or is being concurrently submitted for any other qualification at any other university. Signed ……...………… ii ACKNOWLEDGEMENTS For God. His Grace made every word in this thesis possible. I am most grateful to: My supervisor, Dr. David Teh, for his incisive and timely advice, inspiring me to take on greater challenges in my writing and encouraging me to think beyond film. My father, for instilling a love of film in me, and my mother and sister for their loving and unwavering care. Jeanette and Xin Tian for their time and kind help in proofreading this thesis. And my dear friends, Sam, Samantha, Esther, Nick, Denise, Dorothy and Usha. iii CONTENTS Abstract……………………………………………………………………………...v Introduction The Ontological Contention of Documentary Films………………................1 Overview of the Films………………………………………………………..5 Chapter One: The Illusion of Real Time 1.1 Bergsonian Durée and the “Real-Time” Film…………………………..12 1.2 The “Pure Record” in Ten……………………………………………….15 1.3 The Long Take in Russian Ark………………………………………….17 1.4 Realistic Fantasies and Fantastical Realities……………………………19 Chapter Two: