Film Theory – Pacing Guide
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Robert Mckenzie, Ph.D
Robert McKenzie, Ph.D. Department of Communication 300 Analomink Street East Stroudsburg University of Pennsylvania, USA East Stroudsburg, PA, 18301, USA Office Phone: (570) 422-3886 Home Phone: 570-424-5051 Email: [email protected] Cell Phone: 570-242-9299 Current Positions Chairperson and Full Professor, Department of Communication (7 tenure-track faculty and 4 adjunct faculty; B.A. and M.A. degrees offered); Department Internship Coordinator; Graduate Coordinator; and University Advisor to WESS Radio, 90.3 FM (1000-watt broadcaster, webcaster, podcaster). Distinguished Professor Award 2012 Recipient of the Distinguished Professor Award (“The pre-eminent faculty rank bestowed by the University upon members of the university faculty who have made outstanding contributions to the academic life of East Stroudsburg University.”). Education Ph.D. (1987-90), Speech Communication, Penn State University; Areas of Study: Global Journalism and Mass Communication, Communication Technology; Rhetoric; Dissertation: "Understanding Information Needs and News Technologies of Pennsylvania Radio Stations: A Field Study." M.A. (1984-87), Speech Communication, Penn State University; Areas of Study: International Mass Communication; Thesis: "Comparing How Americans in Britain and Britons in the United States Access Media for 'Home Country' Information." B.A. (1980-84), Millersville University, Pennsylvania; Major: History; Minor: Business Administration. COURSES TAUGHT East Stroudsburg University of Pennsylvania CMST 111: Introduction to Communication (face -
Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
Reflections from the Developments of School Science Curricula
Imitation game: Reflections from the developments of school science curricula SONG, Jinwoong (宋眞雄) Department of Physics Education, Seoul National University What will fulfill this need can be stated in equally simple terms. It is, ironically enough, that science be taught as science. (Joseph J. Schwab, 1962: 188-9) 1.Introduction The Imitation Game is a 2014 British historical drama film directed by Morten Tyldu m and written by Graham Moore, based on the biography Alan Turing: The Enigma by A ndrew Hodges. It stars Benedict Cumberbatch as British cryptanalyst Alan Turing, who dec rypted German intelligence codes for the British government during the Second World War (https://en.wikipedia.org/wiki/The_Imitation_Game). The ’Imitation Game’ refers to so-calle d ‘Turing Test’ which is a test for artificial intelligence suggested by a famous British ma thematician, Alan Turing (1912-54), who is known as the father of the computer. Through his paper, “Computing machinery and intelligence” (1950), Tuning gave a conceptual fou ndation of AI (Artificial Intelligence), by suggesting the Turing Test, “a test of a machine’ s ability to exhibit intelligent behavior equivalent to, or indistinguishable from, that of a h uman.” (https://en.wikipedia.org/wiki/Turing_test) Science is now considered as one of the core (often three of them) subjects across th e world, together with the national language and mathematics. For example, in PISA studi es, science is included in the three main areas, with literacy and mathematics (e.g. OECD, 2018). And, in TIMSS studies, science and mathematics are the two main subjects for th e international comparison (https://timssandpirls.bc.edu/timss2015/). -
Mean Girls? the Influence of Gender Portrayals in Teen Movies on Emerging Adults' Gender-Based Attitudes and Beliefs
MEAN GIRLS? THE INFLUENCE OF GENDER PORTRAYALS IN TEEN MOVIES ON EMERGING ADULTS' GENDER-BASED ATTITUDES AND BELIEFS By Elizabeth Behm-Morawitz and Dana E. Mastro This two-part exploratory study utilized a social cognitive theory frame- work in documenting gender portrayals in teen movies and investigating the influence of exposure to these images on gender-based beließ about friendships, social aggression, and roles of women in society. First, a con- tent analysis of gender portrayals in teen movies was conducted, reveal- ing that female characters are more likely to be portrayed as socially aggressive than male characters. Second, college students were surveyed about their teen movie-viewing habits, gender-related beliefs, and atti- tudes. Findings suggest that viewing teen movies is associated with neg- ative stereotypes about female friendships and gender roles. Research examining the effects of media exposure demonstrates that media consumption has a measurable influence on people's per- ceptions of the real world, and, regardless of the accuracy of these per- ceptions, they are used to help guide subsequent attitudes, judgments, and actions. For example, these results have been yielded for view- ing media representations of race,' the mentally ill,^ and the elderly.^ Past research additionally indicates that watching televised gender portrayals has an effect on individuals' real-world gender-based atti- tudes, beliefs, and behaviors."* Based on this research, and the tenets of social cognitive theory, it would be expected that consumption of teen movies would have an analogous influence on audience members' gen- der-based attitudes and beliefs. Despite the popularity of teen movies, the influence of such films on emerging adults has not been examined. -
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“Can We Get a Cleanup On Aisle 2?” Previous: The Antisocial Fantasies of Jude the Obscure by Matthew Risling “Can We Get a Cleanup On Aisle 2?”: How Film Critics Mopped Up the Transgressions of Jenny McCarthy’s Dirty Love Sara Swain Pivot is published through Open Journal Systems (OJS) at York University 2 Introduction Dirty Love (John Asher, 2005) is the consequence of Jenny McCarthy’s fearless foray into the risky territory of the gross-out comedy. The film endured a long and laborious gestation period under the threat of financial ruin. The project began as a sitcom pilot that McCarthy had initially penned for Fox Television. Fox passed, deeming the project “too edgy and too controversial for TV” “Can We Get a Cleanup On (qtd. in Kevin Aisle 2?”: Williamson). But McCarthy and her How Film Critics Mopped Up the production team could Transgressions of Jenny McCarthy’s not be dissuaded. They Dirty Love bought the rights back Sara Swain from Fox and McCarthy went to work transforming the script into a feature film (Kates). She insists that she never wanted to be a writer but because of the dearth of onscreen comedic roles for women, she was forced to take matters into her own hands (qtd. in Sobczynski). Dirty Love eventually debuted at the Sundance Film Festival in late January 2005, where it was warmly received. John Cooper, the Festival’s Programming Director, lauded the filmmakers in the program notes for so brazenly travelling “across a comic minefield where few dare to tread.” Soon after the film was picked up for distribution. -
CODEBREAKING Suggested Reading List (Can Also Be Viewed Online at Good Reads)
MARSHALL LEGACY SERIES: CODEBREAKING Suggested Reading List (Can also be viewed online at Good Reads) NON-FICTION • Aldrich, Richard. Intelligence and the War against Japan. Cambridge: Cambridge University Press, 2000. • Allen, Robert. The Cryptogram Challenge: Over 150 Codes to Crack and Ciphers to Break. Philadelphia: Running Press, 2005 • Briggs, Asa. Secret Days Code-breaking in Bletchley Park. Barnsley: Frontline Books, 2011 • Budiansky, Stephen. Battle of Wits: The Complete Story of Codebreaking in World War Two. New York: Free Press, 2000. • Churchhouse, Robert. Codes and Ciphers: Julius Caesar, the Enigma, and the Internet. Cambridge: Cambridge University Press, 2001. • Clark, Ronald W. The Man Who Broke Purple. London: Weidenfeld and Nicholson, 1977. • Drea, Edward J. MacArthur's Ultra: Codebreaking and the War Against Japan, 1942-1945. Kansas: University of Kansas Press, 1992. • Fisher-Alaniz, Karen. Breaking the Code: A Father's Secret, a Daughter's Journey, and the Question That Changed Everything. Naperville, IL: Sourcebooks, 2011. • Friedman, William and Elizebeth Friedman. The Shakespearian Ciphers Examined. Cambridge: Cambridge University Press, 1957. • Gannon, James. Stealing Secrets, Telling Lies: How Spies and Codebreakers Helped Shape the Twentieth century. Washington, D.C.: Potomac Books, 2001. • Garrett, Paul. Making, Breaking Codes: Introduction to Cryptology. London: Pearson, 2000. • Hinsley, F. H. and Alan Stripp. Codebreakers: the inside story of Bletchley Park. Oxford: Oxford University Press, 1993. • Hodges, Andrew. Alan Turing: The Enigma. New York: Walker and Company, 2000. • Kahn, David. Seizing The Enigma: The Race to Break the German U-boat Codes, 1939-1943. New York: Barnes and Noble Books, 2001. • Kahn, David. The Codebreakers: The Comprehensive History of Secret Communication from Ancient Times to the Internet. -
CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN
CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN: EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) Window, very small in the distance, illuminated. All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous iron grille work. Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial "K" showing darker and darker against the dawn sky. Through this and beyond we see the fairy-tale mountaintop of Xanadu, the great castle a sillhouette as its summit, the little window a distant accent in the darkness. DISSOLVE: (A SERIES OF SET-UPS, EACH CLOSER TO THE GREAT WINDOW, ALL TELLING SOMETHING OF:) The literally incredible domain of CHARLES FOSTER KANE. Its right flank resting for nearly forty miles on the Gulf Coast, it truly extends in all directions farther than the eye can see. Designed by nature to be almost completely bare and flat - it was, as will develop, practically all marshland when Kane acquired and changed its face - it is now pleasantly uneven, with its fair share of rolling hills and one very good-sized mountain, all man-made. Almost all the land is improved, either through cultivation for farming purposes of through careful landscaping, in the shape of parks and lakes. The castle dominates itself, an enormous pile, compounded of several genuine castles, of European origin, of varying architecture - dominates the scene, from the very peak of the mountain. -
Cel Animation and Define the Words That
Chapter 5-Animation Objective The students will be able to: define animation and describe how it can be used in multimedia. discuss the origins of cel animation and define the words that originate from this technique. define the capabilities of computer animation and the mathematical techniques that differ from traditional cel animation. discuss some of the general principles and factors that apply to the creation of computer animation for multimedia presentations. Overview Introduction to animation. Computer-generated animation. File formats used in animation. Making successful animations. Introduction to Animation Animation is defined as the act of making something come alive. It is concerned with the visual or aesthetic aspect of the project. Animation is an object moving across or into or out of the screen. Introduction to Animation Animation is possible because of a biological phenomenon known as persistence of vision and a psychological phenomenon called phi. In animation, a series of images are rapidly changed to create an illusion of movement. Usage of Animation Artistic purposes Storytelling Displaying data (scientific visualization) Instructional purposes 12 Basic Principles of Animation 1. Timing The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. 12 Basic Principles of Animation 2. Secondary Action This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. 12 Basic Principles of Animation 3. Follow Through and Overlapping Action When the main body of the character stops, all other parts will continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). -
Texture Mapping for Cel Animation
Texture Mapping for Cel Animation 1 2 1 Wagner Toledo Corrˆea1 Robert J. Jensen Craig E. Thayer Adam Finkelstein 1 Princeton University 2 Walt Disney Feature Animation (a) Flat colors (b) Complex texture Figure 1: A frame of cel animation with the foreground character painted by (a) the conventional method, and (b) our system. Abstract 1 INTRODUCTION We present a method for applying complex textures to hand-drawn In traditional cel animation, moving characters are illustrated with characters in cel animation. The method correlates features in a flat, constant colors, whereas background scenery is painted in simple, textured, 3-D model with features on a hand-drawn figure, subtle and exquisite detail (Figure 1a). This disparity in render- and then distorts the model to conform to the hand-drawn artwork. ing quality may be desirable to distinguish the animated characters The process uses two new algorithms: a silhouette detection scheme from the background; however, there are many figures for which and a depth-preserving warp. The silhouette detection algorithm is complex textures would be advantageous. Unfortunately, there are simple and efficient, and it produces continuous, smooth, visible two factors that prohibit animators from painting moving charac- contours on a 3-D model. The warp distorts the model in only two ters with detailed textures. First, moving characters are drawn dif- dimensions to match the artwork from a given camera perspective, ferently from frame to frame, requiring any complex shading to yet preserves 3-D effects such as self-occlusion and foreshortening. be replicated for every frame, adapting to the movements of the The entire process allows animators to combine complex textures characters—an extremely daunting task. -
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.