Neorealist Director-Architect Critically Observing the Obvious: Vol.1
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Guided Control of Intelligent Virtual Puppets
Guided Control of Intelligent Virtual Puppets Daniel Alexander Taranovsky A thesis subniitted in conformity with the requirements for the degree of Master of Science. Graduate Department of Cornputer Science University of Toronto O Copyright by Daniel Alexander Taranovsky 2001 National Library Bibliothèque nationale 141 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your a7 votm nllefeme Our file Noire réMnmce The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/film., de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Guided Control of Intelligent Virtual Puppets Daniel Alexander Taranovsky Master of Science, 200 1 Graduate Department of Computer Science, University of Toronto Controlling the motion of virtual characters with many degrees of freedom can be difficult and time consuming. For some applications, cornplete control over dljoints at every time step is not necessary and actually hinders the creative process, However, endowing the character with autonomous behaviour and decision-making capabilities completely absolves the user of clearly speciQing his intentions. -
00-Cusina Dispes Online.Pdf
Il presente volume è stato pubblicato con il contributo del Dipartimento di Scienze politiche e sociali dell’Università degli Studi di Trieste. Opera sottoposta a peer review secondo il protocollo UPI – University Press Italiane Questo volume è integralmente disponibile online a libero accesso nell’archivio digitale OpenstarTs, al link: https://www.openstarts.units.it/handle/10077/22666 impaginazione Gabriella Clabot © copyright Edizioni Università di Trieste, Trieste 2018. Proprietà letteraria riservata. I diritti di traduzione, memorizzazione elettronica, di riproduzione e di adattamento totale e parziale di questa pubblicazione, con qualsiasi mezzo (compresi i microfilm, le fotocopie e altro) sono riservati per tutti i paesi. ISBN 978-88-5511-008-2 (print) ISBN 978-88-5511-009-9 (online) EUT Edizioni Università di Trieste via Weiss 21, 34128 Trieste http://eut.units.it https://www.facebook.com/EUTEdizioniUniversitaTrieste Dipartimento di Scienze politiche e sociali dell’Università degli Studi di Trieste Diritto, economia e società In ricordo di Luisa Cusina Raffaella Di Biase, Sara Frisano, Laura Paolino, Serena Baldin, Gabriele Blasutig, Giovanni Delli Zotti, Ornella Urpis, Andrea Crismani, Fabio Fossati, Lucio Franzese, Roberto Fusco, Tullio Gregori, Franca Menichetti, Giorgio Osti, Giorgio Pani, Giuliana Parotto, Roberto Scarciglia, Mariangela Scorrano, Marco Giansoldati, Romeo Danielis, Sara Tonolo, Alessia Vatta, Moreno Zago EUT EDIZIONI UNIVERSITÀ DI TRIESTE Indice RAFFAELLA DI BIASE, SARA FRISANO, LAURA PAOLINO 7 Prefazione SERENA -
Lightning in a Bottle
LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved. -
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 Role of Literature in the Films of Luchino Visconti
From Page to Screen: the Role of Literature in the Films of Luchino Visconti Lucia Di Rosa A thesis submitted in confomity with the requirements for the degree of Doctor of Philosophy (Ph. D.) Graduate Department of ltalian Studies University of Toronto @ Copyright by Lucia Di Rosa 2001 National Library Biblioth ue nationale du Cana2 a AcquisitTons and Acquisitions ef Bibliographie Services services bibliographiques 395 WeOingtOn Street 305, rue Wellington Ottawa ON K1A ON4 Otiawa ON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive ~~mnettantà la Natiofliil Library of Canarla to Bibliothèque nation& du Canada de reprcduce, loan, disûi'bute or seil reproduire, prêter, dishibuer ou copies of this thesis in rnicroform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format é1ectronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation, From Page to Screen: the Role of Literatuce in the Films af Luchino Vionti By Lucia Di Rosa Ph.D., 2001 Department of Mian Studies University of Toronto Abstract This dissertation focuses on the role that literature plays in the cinema of Luchino Visconti. The Milanese director baseci nine of his fourteen feature films on literary works. -
Usage of 12 Animation Principles in the Wayang
USAGE OF 12 ANIMATION PRINCIPLES IN THE WAYANG KULIT PERFORMANCES Ming-Hsin Tsai #1, Andi Tenri Elle Hapsari *2, # Asia University, Taichung – Taiwan http://www.asia.edu.tw 1 [email protected] * Department of Digital Media Design Faculty of Creative Design 2 [email protected] Abstrak— Wayang kulit merupakan salah satu animasi tertua, animation principles will be used in this paper and further namun hingga kini belum ada penulisan lebih lanjut yang discussed in the following section. membahas tentang hubungan animasi dengan wayang kulit itu Wayang Kulit is the Indonesian shadow puppet theatre, sendiri. Dengan demikian, tulisan ini bertujuan untuk which already been acknowledge in worldwide organization memperlihatkan hubungan antara animasi yang kita kenal saat about The Masterpieces of the Oral and Intangible Heritage of ini dengan pertunjukan wayang kulit, menggunakan 12 prinsip dasar dari animasi sehingga terlihat persamaan penggunaan Humanity. It was a list maintained by UNESCO with pieces teknik yang ada dalam hubungannya dengan proses yang of intangible culture considered relevant by that organization. lainnya. The goal of this paper is to take a closer look at 12 principle of animation used in wayang kulit performances. The animation principles designed by Disney animators Kata kunci— Teknik animasi, 12 prinsip animasi, wayang kulit themselves, will act as guidelines to test the quality of Abstract— Wayang Kulit has been known as one of the oldest animation used in wayang kulit performances techniques, by animation; however, there is no definitive methodology that analyzing the use of the 12 traditional animation principles in supports the development process of these animation performances it. -
Film Film Film Film
Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 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, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press. -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
Latvian Neorealism in the Films of Laila Pakalniņa
BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa KLĀRA BRŪVERIS, University of New South Wales, Australia; email: [email protected] 38 DOI: 10.1515/bsmr-2017-0003 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This paper examines the development of neorealist tendencies in the oeuvre of contemporary Latvian filmmaker Laila Pakalnina. Her work is positioned within the global dissemination of cinematic neorealism, and its local manifestations, which, it is argued, develop in specific national contexts in reaction to dramatic societal and political changes. Pakalniņa’s films are examined as a documentation of the change from a communist satellite state to an independent democratic, capitalist country. Heavily influenced by the Riga School of Poetic Documentary, a movement in Latvian cinema that adhered to the conventions of poetic documentary filmmaking, the article analyses how her films replicate and further develop the stylistic and aesthetic devices of the Italian neorealists and the succeeding cinematic new waves. In doing so the argument is put forth that Pakalnina has developed neorealism Latvian style. Due to their size, small nations do not pos- grassroots globalisation is also occurring in sess the economic or political capital to Latvia. More specifically, the Latvian direc- participate in dominant networks of globali- tor Laila Pakalniņa is participating in an sation, which serve the interests of larger, alternative network of cinema globalisation wealthier nations that use global networks by re-appropriating the stylistic and aes- for political or financial gain (Hjort, Petrie thetic tropes of Italian neorealism, which 2007: 8). -
Thea Supervisor
Constructions of Cinematic Space: Spatial Practice at the Intersection of Film and Theory by Brian R. Jacobson B.S. Computer Science Appalachian State University, 2002 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSSETTS INSTITUTE OF TECHNOLOGY MASSACHUSETTSINSTTTIJTE OF TECHNOLOGY SEPTEMBER 2005 AUG 18 2005 I I LIBRARtF F3., C 2005 Brian R. Jacobson. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author: ,epartment of Comparative Media Studies August 1, 2005 Certified by: , '/ 0%1111-- - V./ V William Uricchio Professor and Co-Director of Comparative Mania Studies / TheAHer Supervisorekn Accepted by: I .My ,/t Henry Jenkins III Professor and Co-Director ¢jtomparative Media Studies .ARCHIVES >.-M- Constructions of Cinematic Space: Spatial Practice at the Intersection of Film and Theory by Brian R. Jacobson Submitted to the Department of Comparative Media Studies on August 1, 2005 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT This thesis is an attempt to bring fresh insights to current understandings of cinematic space and the relationship between film, architecture, and the city. That attempt is situated in relation to recent work by Michael Hardt and Antonio Negri, Saskia Sassen, and others on the importance of the city in the current global framework, along with the growing body of literature on film, architecture, and urban space.