Festival Lumière 2017
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Hrvatski Filmski LJET OPIS 44/2005
hfl_44k:hfl_44k.qxd 2010-12-06 11:40 Page 1 Hrvatski filmski LJETOPIS 44/2005 Svim ~itateljima i suradnicima `elimo sretnu 2006. godinu te dobar nastavak uzajamna povjerenja i suradnje CODEN.HFLJFV UDK 791.43/45 Hrvat.film.ljeto. god. 11. (2005.) br. 44 str.1-189 ISSN 1330-7665 44/2005. CODEN HFLJFV Sadr`aj / Contents ANIMACIJSKE STUDIJE ANIMATION Giannalberto Bendazzi: DEFINIRATI ANIMACIJU 3 Giannalberto Bendazzi: DEFINING ANIMATION 3 Midhat Ajanovi}: OGLED O MIKROKADRU 8 Midhat Ajanovi}: AN ESSAY ON MICRO SHOT 8 Marcin Giûycki: KRATKA POVIJEST POLJSKE ANIMACIJE 20 Marcin Gizycki: SHORT HISTORY OF POLISH ANIMATED FILM 20 Hrvoje Turkovi}: MO@E LI ANIMIRANI FILM BITI Hrvoje Turkovi}: COULD ANIMATED FILM BE DOCUMENTARY? DOKUMENTARISTI^AN? 28 28 FESTIVALI FESTIVALS Goran Kova~: TRE]I ZAGREBA^KI FILMSKI FESTIVAL 33 Goran Kova~: THIRD ZAGREB FILM FESTIVAL 33 Hrvoje Turkovi}: MEDITATIVNE IGRE (PRVI 25FPS INTERNACIO- Hrvoje Turkovi}: MEDITATIVE GAMES (FIRST 25FPS INTERNA- NALNI FESTIVAL EKSPERIMENTALNOG FILMA I VIDEA) 38 TIONAL FESTIVAL OF EXPERIMENTAL FILM AND VIDEO) 38 REPERTOAR REPERTOIRE KINOIZBOR 45 CINEMA THEATRES 45 VIDEOIZBOR 87 VIDEO 87 TUMA^ENJA INTERPRETATIONS Janko Heidl: NICK BROOMFIELD ^OVJEK S FILMSKIM Janko Heidl: NICK BROOMFIELD THE MAN WITH THE MIKROFONOM 101 MICROPHONE 101 STUDIJE I ISTRA@IVANJA IZ POVIJESTI HRVATSKOG FILMA STUDIES AND RESEARCHES FROM THE HISTORY OF CROA- TIAN FILM Dejan Kosanovi}: FILM KAO POVIJESNI IZVOR ZA PROU^AVANJE Dejan Kosanovi}: FILM AS HISTORICAL SOURCE FOR THE STUDY OF RIJE^KE INDUSTRIJSKE BA[TINE 107 RIJEKA INDUSTRAL HERITAGE 107 Jurica Pavi~i}: LOPTA I ^EKI]: KOLEKTIV I INDIVIDUA U GOLIKOVU Jurica Pavi~i}: A BALL AND A HAMMER: THE COLLECTIVE AND FILMU PLAVI 9 111 THE INDIVIDUAL IN GOLIKS FILM BLUE 9 111 Ante Peterli}: H-8.. -
Animációs Mozgóképtörténet I
Animációs mozgóképtörténet I. Animációs mozgóképtörténet I. M Tóth , Éva Kiss , Melinda Created by XMLmind XSL-FO Converter. Animációs mozgóképtörténet I.: Animációs mozgóképtörténet I. M Tóth , Éva Kiss , Melinda Szerzői jog © 2014-2019 M Tóth Éva DLA, Kiss Melinda DLA, Budapesti Kommunikációs és Üzleti Főiskola Created by XMLmind XSL-FO Converter. Tartalom Animációs mozgóképtörténet I. ........................................................................................................ vii Megjegyzés ...................................................................................................................................... viii 1. Az animáció műfajáról általában .................................................................................................... 1 1. 1.1. Animációs technikai műfajok ......................................................................................... 2 2. 1.2. Az animációs tervezés fázisai ........................................................................................ 5 2. A mozgókép kialakulásának előzményei ........................................................................................ 7 1. 2.1. Képtörténet ..................................................................................................................... 9 1.1. 2.1.1. Képmutogatók .............................................................................................. 10 1.2. 2.1.2. A panoráma és cikloráma ............................................................................. 11 1.3. -
The Toy Like Nature: on the History and Theory of Animated Motion
THE TOY LIKE NATURE: ON THE HISTORY AND THEORY OF ANIMATED MOTION by Ryan Pierson B.A., University of Georgia, 2004 M.A., New York University, 2005 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Ryan Pierson It was defended on August 21, 2012 and approved by Marcia Landy, Distinguished Professor, Department of English Mark Lynn Anderson, Associate Professor, Department of English Peter Machamer, Professor, Department of History and Philosophy of Science Scott Bukatman, Professor, Department of Art and Art History, Stanford University Dissertation Advisor: Daniel Morgan, Assistant Professor, Department of English ii Copyright © by Ryan Pierson 2012 iii THE TOY LIKE NATURE: ON THE HISTORY AND THEORY OF ANIMATED MOTION Ryan Pierson, Ph.D. University of Pittsburgh, 2012 This dissertation examines some key assumptions behind our prevailing idea of animation, arguing that our idea of animation is not, as is often implicitly assumed, an ahistorical category of manipulated imagery, but the result of a complex network of contingent processes. These assumptions, from the aesthetic end, largely emerged from the postwar rise of figurative (or noncartoon, nonabstract) animation—a “new era” which critic André Martin characterized as “marked by the widest possible range of techniques and processes.” From the other end, animation is tied to widespread assumptions from science that assert the biological, automatic nature of visual illusion. Animation’s unique status as a medium of visual movement that can arise from any kind of material (drawings, puppets, computer graphics, etc.), thus yields a paradox that I call “animated automatism”: the fact that, in order to assert its open-ended freedom as an art form, animation must acknowledge the reductive mechanics of perception. -
MIAF Text 2012.V4:Layout 2
12TH MELBOURNE INTERNATIONAL ANIMATION FESTIVAL 1 DIRECTOR’S MESSAGE Greetings All Digital culture and the highly digitised future we are light-beaming towards can act as either the white knight or the Grim Reaper in this MIAF #12, who woulda thunk it? endeavour. With the ease and relative inexpense of creating digital This little missive usually gets written about last during the catalogue imagery at our fingertips, we are risking mega-sizing every aspect of production mayhem that swamps us each year in the lead up to the our visual culture menu to the point where we simply lose the ability to festival, and I’m happy to report that this is exactly what has happened truly value one set of images against another; the cultural norm becomes again for 2012. Traditions are important to any organisation. The temptation simply flicking through images for the sake of it, barely stopping to to write 2013’s ‘Welcome’ right after I finish this one is nearly overwhelming understand them as they flip by our crowded, increasingly full though, just to see what kind of karmic reaction would be unleashed. consciousness to the point where we become attuned to treating all visual culture as a kind of vapour/wallpaper. If that attitude to visual It would be fair to say that, for the most part, this gets left til last for the culture takes hold we surrender the need to save this history because same reason pots and pans get left til last. But that said, the single we almost stop seeing it as history at all. -
Sur Le Festival International Du Film De Montreal Intimate Lighting (Intimni Osvetleni)
· LA FÊTE DU CINÉMA : 24 h DE PROJECTIONS · REGARDS CROISÉS : STAREWITCH ET WES ANDERSON · TRÉSORS DE LA COLLECTION VIDÉO ET TÉLÉVISION JUIN 2010 · FOCUS QUÉBÉCOIS ET CANADIEN LA PASSION PLEIN ÉCRAN FLASHBACK SUR LE FESTIVAL INTERNATIONAL DU FILM DE MONTREAL INTIMATE LIGHTING (INTIMNI OSVETLENI) JUIN & JUILLET ‹ AU VERSO RENSEIGNEMENTS INFO-PROGRAMMATION : WWW.CINEMATHEQUE.QC.CA ou 514.842.9763 · DROITS D’entrée*: ADULTES 7 $ · ÉTUDIANTS et AÎNÉS 6 $1 · 6-15 ANS 4 $1 · CARTE CINÉ-MANIAQUE (ACCÈS ILLIMITÉ) : UNE PERSONNE · 99 $ / UN AN · EXPOSITIONS : ENTRÉE LIBRE * Taxes incluses. Le droit d’entrée peut différer dans le cas de certains programmes spéciaux. 1. Sur présentation d’une carte d’étudiant ou d’identité. 2010 JUIN HEURES d’OUVERTURE BILLETTERIE : MERCREDI À VENDREDI DÈS MIDI · SAMEDI ET DIMANCHE DÈS 16 h · EXPOSITIONS : MARDI DE MIDI À 18 h · MERCREDI À VENDREDI DE MIDI À 20 h · SAMEDI ET DIMANCHE DE 16 h À 20 h · 27 juillet au 7 septembre : du mardi au vendredi de 12 h à 18 h · fermées samedi et dimanche · MÉDIATHÈQUE GUY-L.-COTÉ : CINÉMATHÈQUE QUÉBÉCOISE MERCREDI À VENDREDI DE 13 h À 20 h · 25 juin au 8 septembre : du mercredi au vendredi de 13 h à 17 h · CAFÉ-BAR : 335, boul. de Maisonneuve Est, Montréal (Québec) Imprimé au Québec MARDI AU VENDREDI DE MIDI À 22 h · SAMEDI DE 16 h À 22 h · 2 au 23 juillet : lundi au vendredi de 12 h à 22 h, samedi de sur papier québécois DESIGN : DESIGN: AGENCE CODE Canada H2X 1K1 recyclé à 100 % 16 h à 22 h, fermé le dimanche Métro Berri-UQAM (post-consommation). -
Animation Writing Development
Animation Writing and Development FOCAL PRESS VISUAL EFFECTS AND ANIMATION Debra Kaufman, Series Editor Animation Writing and Development From Script Development to Pitch Jean Ann Wright 3D for the Web Interactive 3D Animation Using 3ds max, Flash and Director Carol MacGillivray Anthony Head Character Animation in 3D Steve Roberts Stop Motion: Craft Skills for Model Animation Susannah Shaw Producing Independent 2D Animation: Making & Selling a Short Film Mark Simon Essential CG Lighting Techniques Darren Brooker A Guide to Computer Animation: for TV, Games, Multimedia & Web Marcia Kuperberg Animation in the Home Digital Studio: Creation to Distribution Steven Subotnick Digital Compositing for Film and Video Steve Wright Producing Animation Catherine Winder and Zahra Dowlatabadi The Animator’s Guide to 2D Computer Animation Hedley Griffin Visit www.focalpress.com to purchase any of our titles. Animation Writing and Development FROM SCRIPT DEVELOPMENT TO PITCH Jean Ann Wright AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisition Editor: Amy Jollymore Project Manager: Carl M. Soares Assistant Editor: Cara Anderson Marketing Manager: Christine Degon Design Manager: Cate Barr Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2005, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: [email protected].