AWR 2O Film/Video Senior Course Outline Lead Writer: Lori Comerford, Writer: Preston Schiedel, Reviewer: Jane Dewar
Resource to Support the 2010 Revised Ontario Arts Curriculum Policy Documents
Lead Editor: Terry Reeves, Project Editors: Jane Dewar, Susan Daugherty, Rick Gee, Mari Nicolson, Bob Phillips, Pat Rocco, Margot Roi, Joanna Swim, Kathy Yamashita, Contributing Editor: Mervi Salo OSEA - Ontario Society for Education through Art - 2010 www.osea.on.ca !""#$%&'(!)*+,(+-+(./0&1(2&3456(7#89(!44#440#$:(;<= ./0&1(2&3456(7#89(!44#440#$:(>(*#98#1:&/$
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<*%($*/%2$%+*,,%<(.%"2$%&*).2#-%,#1#.2.#'-$ B 12A*%$.(/*-.$%2+2)*%'0%."*%*45*&.2.#'-$%`."*$*%&2- <*%&'=&'-$.)(&.*/cX q .#.,*$%2-/%&)*/#.$ q ')#7#-2,%$'(-/.)2&A$;%+"*)*3*)%5'$$#<,* q 3#$(2,%+')A%JQUQTSGF%+#."%2(/#' q 2(/#'%1($.%<*%255)'5)#2.*%2-/%5()5'$*0(, q 5)'0*$$#'-2,%2-/%5',#$"*/%3#/*' q *15"2$#$%'-%m>QU9!p%2-/%-'.%m>QT!9!p B 5)'3#/*%7(#/*/%$(&&*$$%&)#.*)#2%.'%&'=&'-$.)(&.%2 )(<)#&%0')%."*%*32,(2.#'-%'0%."#$%5*)0')12-&*%.2$A AWR 2O Film / Video www.osea.on.ca 29 of 54 U*$$'-%^K%=%!"*%L2)'/C%M#,1%M*$.#32,%`G3*)C'-*V$%2%S)#.#&Oc Q55*-/#&*$X !*2&"*)%+#,,X Qa\Ef%KX?%M#,1%W*-)*$%JU@ B ')72-#N*%."*%$&)**-#-7%'0%$.(/*-.%5)*$*-.2.#'-$%'0 Qa\Ef%KXE%M#,1%W*-)*$ ."*#)%D5''0%#.O%3#/*'%.'%."*%&,2$$ \*$*2)&"%L)*$*-.2.#'-%JU@ B 7*-*)2.*%,#$.%'0%2+2)/%&2.*7')#*$%$(&"%2$%<*$. 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It is based on the notion that our eye retains an image for a split second after the image leaves the field of view. The persistence of vision theory was first presented by Peter Roget in 1824. Phi Phenomenon Phi phenomenon is a perceptual illusion described by Max Wertheimer in his 1912 Experimental Studies on the Seeing of Motion, in which a disembodied perception of motion is produced by a succession of still images. When combined with the concept of Persistence of Vision, we are able to see motion from still images when the images are shown in a fast moving sequence. Intermittent Motion Photographers such as Eadweard Muybridge had already determined that a camera could take a series of still images at very fast speeds. The Persistence of Vision and Phi Phenomenon theories allow us to see moving images if these still pictures are shown with a fast set frequency. However the race to patent the first movie projector was not that easy. Both in Europe and in the United States inventors, such as Thomas Edison, were determined to be the first to make images move. No matter how hard they tried, the images were a moving blur. They tried faster rates and slower rates but the human eye could not focus on the image as it was sent speeding past the projecting lens. Finally the Lumiere Brothers in France applied the technology of the sewing machine motor to the movie projector and it worked! Intermittent motion is a pause-and-go type of motion. The eye needs to see the image, focus on it and then see another image. When this happens in a fast moving sequence, the images appear to move. Magic! Zoetrope The Zoetrope was a late 19th century parlour game. It is a circular drum with regularly placed slots at the top edge. A sequence of images is placed inside the drum and the drum is spun around. When viewed through the slots, the sequence will give the illusion of motion. It becomes animated. Animation To animate is to bring to life by creating movement from something that is actually still or inanimate. Over the years animators have done this very successfully with the drawn image, clay, real objects or even people. Norman McLaren Canada’s reputation as a world leader in animation can largely be attributed to Norman McLaren. He worked for the National Film Board of Canada in the 1940-60’s. During this time Montreal was the cultural heartbeat of Canada. McLaren was a jazz musician as well as a film maker. In his abstract animation titled "Be Gone Dull Care", he successfully brought together his two passions. He took animation on a wild, abstract mind trip. He also experimented with still frame animation using human actors in such films as "Neighbours". AWR 2O Film / Video www.osea.on.ca 32 of 54 Appendix AWR2O 1:2 Zoetrope BLM How to Make a Simple Zoetrope Step 1 – Cut out a 8 inch (20cm) circle from a stiff paper such as bristol board, corrugated cardboard or illustration board. Use a compass to ensure the center point is well marked. This will become the base. Step 2 – Cut a 3” x 24” (8cm x 61cm) strip of Bristol board or heavy quality white paper. Make a mark at 2” (5cm) intervals along the length of piece. Cut out a 1/4'” (6mm) wide slot at each interval that is 1”(3cm) deep. Step 3 – create drawings between the slots that are slightly different stages in a movement or action. Each slot becomes a frame or cell in the animation. Step 4 – Tape the strip together to create a loop and tape the loop to the base to create the zoetrope drum. Step 5 – Place a thumbtack through the centre of the base (try to be exact) and then thumbtack the whole drum into the eraser of a pencil. The thumbtack may need to be loosened up in the base a bit to enable it to spin. Spin the drum with one hand while holding the pencil with the other. View the drawings through the slots to see the animation. *Note – to make a more permanent zoetrope, find an old revolving server (Lazy Susan), or turntable, for a base and create the drum out of a soft, thin, bendable plywood, with regularly spaced intervals (12-15 slots) cut out of the top edge. Use wood glue and a staple gun to adhere it to the base. Students can then be given bigger strips of paper that will fit this drum to create their drawings. 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