The History of the Moving Image Art Lab GRADE: 9-12
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Optical Machines, Pr
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library. -
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. -
Understanding Edward Muybridge: Historical Review of Behavioral
NEUROSURGICAL FOCUS Neurosurg Focus 39 (1):E4, 2015 Understanding Edward Muybridge: historical review of behavioral alterations after a 19th-century head injury and their multifactorial influence on human life and culture Sunil Manjila, MD,1 Gagandeep Singh, MD,2 Ayham M. Alkhachroum, MD,2 and Ciro Ramos-Estebanez, MD, PhD2,3 Departments of 1Neurosurgery and 2Neurology, and 3Divisions of Neurocritical Care and Stroke, Neurological Institute, University Hospitals Case Medical Center, Cleveland, Ohio Edward Muybridge was an Anglo-American photographer, well known for his pioneering contributions in photography and his invention of the “zoopraxiscope,” a forerunner of motion pictures. However, this 19th-century genius, with two original patents in photographic technology, made outstanding contributions in art and neurology alike, the latter being seldom acknowledged. A head injury that he sustained changed his behavior and artistic expression. The shift of his interests from animal motion photography to human locomotion and gait remains a pivotal milestone in our understand- ing of patterns in biomechanics and clinical neurology, while his own behavioral patterns, owing to an injury to the orbitofrontal cortex, remain a mystery even for cognitive neurologists. The behavioral changes he exhibited and the legal conundrum that followed, including a murder of which he was acquitted, all depict the complexities of his personality and impact of frontal lobe injuries. This article highlights the life journey of Muybridge, drawing parallels with Phineas Gage, whose penetrating head injury has been studied widely. The wide sojourn of Muybridge also illustrates the strong con- nections that he maintained with Stanford and Pennsylvania universities, which were later considered pinnacles of higher education on the two coasts of the United States. -
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. -
The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States. -
Slides: Animation-Sound-Storyboarding
Basics of Motion / Sound * Principles of Animation PrinciplesPrinciples of Animationof Animation In 1981, former ‘Nine Old Men’ animators Ollie Johnston and Frank Thomas wrote the animation book “The Illusion of Life: Disney Animation.” In the book they laid out the 12 basic principles of animation. We are going to begin by adding two of the principles including “arcs” and “timing” Beginning of Animation Since the beginning of history humans have attempted to capture motion. From Grecian urns of people running to fun ‘parlor’ trick type machines that would recreate the concept of motion. Some of these devices include: 480 BC ● Thaumatrope (1825) ● Phénakisticope (1833) ● Zoetrope (1833) ● Flip book (1868) ● Praxinoscope (1877) ● Zoopraxiscope (1879) Phénakisticope 1833 Zoetrope 1833 KeyframeKeyframe Keyframe: A ‘key’ or important part of an animated action is referred to as a keyframe. This action usually occurs at the beginning and the end of an action. Keyframes are very important to creating animation, thus, someone whose job is it is to create keyframes is referred to as a keyframe animator. The role of keyframe animator was a very important job and typically given to a veteran. Keyframe Action Beginning Keyframe End Keyframe Keyframe action End keyframe Beginning keyframe Anticipation Anticipation Follow - Through Follow-Through Secondary Animation Secondary Action ArcsArcs Arcs in animation was the concept that most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied "arcs" for greater realism. This can apply to a limb moving by rotating a joint, or a thrown object moving along a parabolic trajectory. -
The Historian's Toybox
THE HISTORIAN’S TOYBOX Children’s Toys from the Past you can Make Yourself. EUGENE F. PROVENZO, JR. ASTERIE BAKER PROVENZO Illustrations by Peter A. Zorn, Jr. EUGENE F. PROVENZO, JR., an associate professor in the School of Education and Allied Professions, University of Miami, is a specialist in the history of childhood and the history of education. Not only is he interested in toy design as a historian, but he has also designed award-winning toys. ASTERIE BAKER PROVENZO is currently working on a history of American school architecture at the University of Miami. Her interest in toys is an outgrowth of research she has conducted on the history of childhood and the history of education. PETER A. ZORN, JR., an assistant professor of graphic design at the University of Miami, has wide-ranging experience in the development and design of toys. INTRODUCTION Toys play an important part in the lives of children. They are vehicles for the imagination of children, as well as tools with which to instruct them about the world in which they live. Unfortunately, too many of the toys that are available to children today do not encourage them to discover or invent things for themselves. Historically, this has not always been the case. Many of the toys that were popular during the eighteenth and nineteenth centuries required the imagination and inventiveness of the child. The Historian’s Toy-box: Children’s Toys from the Past You Can Make Yourself is about these toys and how to make them. Children have always made toys for themselves. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
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. -
Eadweard Muybridge
Eadweard Muybridge TEACHERS AND STUDENTS NOTES For use at Kingston Museum or in the classroom Suitable for teachers and students of Key Stage 2-5Stage 3-5 By Caroline Burt and Alexandra Reynolds Kingston Museum and Heritage Service This pack provides a brief introduction to the life and work of Eadweard Muybridge. The pack looks at a selection of works in detail, providing background information, discussion ideas and suggested activities. Cover Images (clockwise from top left) EM8132 Muybridge greets athlete EM0052 Woman dancing EM6880 Ox. Walk, gallop, trot, run EM7838 Fishing Boat coming ashore by moonlight, Guatemala/Panama All images in this pack are courtesy of Kingston Museum and Heritage Service unless otherwise stated www.kingston.gov.uk/museum 2 Introduction Eadweard Muybridge (Kingston upon Thames 1830 - 1904) was one of the world's most innovative and influential photographic pioneers. His extensive studies of humans and animals in motion played a critical role in the history of photography and moving image. Eadweard Muybridge was born Edward Muggeridge to a merchant family in Kingston upon Thames on April 9th 1830. Before his death in 1904, Muybridge would emigrate to America, change his name three times, come close to death and suffer brain damage in a carriage accident. As well as photographing the landscapes, people and cities of 19th Century America, Muybridge was also instrumental in the development of instantaneous photography. To accomplish his famous motion sequence photography, Muybridge designed his own high speed electronic shutter and electro-timer, to be used alongside a battery of up to 24 cameras. Muybridge used this technology to capture the movement of humans and animals in split-second detail, something that had never been seen before. -
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. -
The Plateau Exhibition in Ghent 2001
The Plateau Exhibition in Ghent 2001 By Ron Holloway Spring 2002 Issue of KINEMA THE PLATEAU EXHIBITION AT THE SCIENCE MUSEUM IN GHENT 2001 Film historians with a tick for the archaeology of the cinema are well advised to pay a visit to the Museum of Science in Ghent to view the exhibition honouring the 200th birthday of Belgian scientist Joseph Plateau. It was Plateau’s experiments on optical deception and the persistence of vision in the middle of the 19th century that led to the invention of the anorthoscope (distorted view) and the phenakistiscope (deceitful view), the direct precursors of the first moving picture inventions. The entire range of related optical inventions the stroboscope (whirling view), the thaumatrope (magical turning), and zoetrope (life turning), to name just the key scientific discoveries that led to cinematography were placed on mechanically driven display atthe opening of the 28th Flanders International Film Festival in Ghent (8-18 October 2001). Visitors to the Flanders festival were also presented with an invaluable catalogue to accompany the exhibition: ”Joseph Plateau, (1801-1883) Living Between Art and Science” (Gent: Provincie Oost-Vlaanderen, 2001) by Maurice Dorikens, with additional essays by David Robinson, Laurent Mannoni, and Giusy Pisno-Basile. Robinson’s contribution on ”Plateau, Faraday and Their Spinning Discs” focuses on the fruitful competition between Joseph Plateau in Belgium and Michael Faraday in England on experiments relating to optical deception. Plateau won that race by a few months to perfect the anorthoscope in 1936, a concession readily made by Faraday upon reading the Belgian scientist’s published papers.