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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. -
Newsreels Versus Newspapers Versus Metadata
volume 7 issue 14/2018 NEWSREELS VERSUS NEWSPAPERS VERSUS METADATA A COMPARATIVE STUDY OF METADATA MODELLING THE 1930S IN ESTONIA Indrek Ibrus Tallinn University Narva road 27 10120 Tallinn Estonia [email protected] Maarja Ojamaa Tallinn University Narva road 27 10120 Tallinn Estonia [email protected] Abstract: This article offers a comparative take on the ways audiovisual versus verbal digital archives model our understanding of the past. We focus on content metadata schemas and their role in modeling histories and framing the uses of audiovisual databases. Our empirical corpus includes verbal and audiovisual objects from the five-year period just before the World War II (1935-1939) as presented in two digital databases – the Analytic Bibliography of Estonian Journalism and the Estonian Film Database. The article compares how the different metadata schemas for newspaper articles and newsreels model their objects. As a consequence, metadata schemas shape contemporary perceptions of historical realities in different ways. Keywords: metadata, modelling systems, audiovisual archives, Estonia, 1930s, newsreels, cultural semiotics The amount and variety of information about the 20th century that we can freely access online is in every respect remarkable. Contemporary digital databases as Europeana, Internet Archives or NYPL Collections offer anyone interested a chance to go far beyond individual textbooks and occasional faded photographs: one can juxtapose materials in different modalities and compare or contrast diverse aspects of the past from various viewpoints. This applies to both users with general or hobbyist interest in the past as well as professional historians. The digital archival turn has evidently met a wide spectrum of responses. -
Giovanna Belico Cária Guimarães O Boneco – Personagem
Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes 2012 1 Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. Área de Concentração: Arte e Tecnologia da Imagem. Orientador: Maurício Silva Gino Belo Horizonte Escola de Belas Artes /UFMG 2012 2 Ficha catalográfica (modelo) Guimarães, Giovanna Belico Cária, 1975. O Boneco-Personagem: caracterização do personagem de animação stop-motion / Giovanna Belico Cária Guimarães. – 2012 102 f.: il. – Orientador: Maurício Silva Gino Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. 1. Boneco – Personagem - stop-motion - Arte – Cinema de Animação 2. Escultura - Teatro I. Gino, Maurício Silva, 1966 - III. Universidade Federal de Minas Gerais. Escola de Belas Artes IV. Título. CDD: CDU: código p/BIB/EBA 3 AGRADECIMENTOS Ao professor Francisco Marinho, com quem iniciei esse projeto. Ao professor Maurício Gino, pela orientação e apoio ao longo de todo o processo, sobretudo durante as (tantas) crises. Ao professor José Américo (in memorian) que contribuiu com suas sugestões e apontamentos. Aos professores Heitor Capuzzo e Ana Lúcia Andrade, que me contagiaram com o encanto pelo cinema e pelo stop-motion. A todo o apoio recebido da Escola de Belas Artes, da UFMG e da CAPES, fundamental para a conclusão desse projeto. -
Pirita Klooster Eesti Ajaloomälus: Mitte Ainult Kloostri Taga Metsas*
Allegooriline motiiv 15. sajandi vormiplaadil Pirita kloostrist 111 list kuulumist Skandinaavia kultuuriruumi. Pirita klooster See pole aga sugugi alati nii olnud ega ole praegugi nii ja seega võiksimegi alustuseks Eesti ajaloomälus: küsida, kui mitu Pirita kloostrit on läbi aegade Eesti ajaloo(mälu)s eksisteerinud? mitte ainult kloostri Muidugi, lisaks kõige esimesele, päris Pirita * kloostrile, mis rajati 15. sajandi alguses hoo- taga metsas pis Maarja nime kandvasse orgu (Mariendal) ning millele oli antud eluiga vaid 175 aastat. Linda Kaljundi 1575. aastal hävitati klooster Liivi sõjas Vene vägede poolt ning Põhjasõja (17001721) ajast on ta seisnud varemeis, kuigi tema ra- jatisi kasutati ositi veel kuni 18. sajandi lõ- puni. Samuti leidsid pühad varemed endiselt Pirita klooster on Eestis üks tuntumaid kesk- kasutamist matmispaigana: Rootsi ja tsaari- aja sümboolseid ja visuaalseid märke. Üht- ajal matsid kiriku varemetesse oma kadunuid lasi aga on selle roll meie ajaloomälus olnud katoliiklased, nende ette tekkis aga 17. sa- nii silmapaistev kui ka ebatavaliselt mitme- jandil talupojakalmistu just selle tarvis ra- tahuline, ühendades endas terve rea erine- jati 19. sajandi keskel (1848) kloostri ümber vaid narratiivseid, aga ka visuaalseid ja paemüür ja kellatorn, mida külastajad pea- performatiivseid kihistusi. Artikkel vaatleb- vad valvurite sõnutsi sageli vana kloostri ki Pirita kui Eesti mälupaiga kujunemist, juurde kuuluvaks. pöörates esmajoones tähelepanu tema võõ- Kindlasti aga pole oma viimset puhkepai- randamise ja kodustamise vastasmängule. ka leidnud klooster ise, mis kõigepealt jõu- dis ära oodata 19. sajandil puhkenud roman- See, kes suvekuudel külastab varemeid Pi- tilise huvi varemete vastu, sh. vaatemaalid, rital, leiab end sissekäigul uhkesse hoonesse mis õpetasid seda uut moodi vaatama ja väär- vastamisi kahe üksteise kõrval heisatud li- puga, millest üks on Eesti ja teine Rootsi. -
101 Biograafiat-2021-June.Pdf
101 BIOGRAPHIES The 14th Riigikogu June 17, 2021 Tallinn 2021 Compiled on the basis of questionnaires completed by members of the Riigikogu / Reviewed semi-annually Compiled by Marge Allandi, Rita Hillermaa and Piret Pärgma / Translated by the Chancellery of the Riigi- kogu / Estonian edition edited by Gerli Randjärv, English edition by Piret Pärgma / Cover by Tuuli Aule / Layout by Margit Plink / Photos by Erik Peinar ISSN 2674-3205 Copyright: Chancellery of the Riigikogu, National Library of Estonia CONTENTS Members of the 14th Riigikogu 3 Members of the Riigikogu by Constituency 114 Members of the Riigikogu by Faction 117 Members of the Riigikogu by Committee 120 Members of the Riigikogu Whose Mandate Has Been Suspended or Has Terminated 124 List of Riigikogus 148 Abbreviations and Select Glossary 149 CONTENTS CONTENTS 2 Members MEMBERS OF Merry Aart Uno Kaskpeit Kristen Michal Erki Savisaar THE 14TH RIIGIKOGU Annely Akkermann Erkki Keldo Marko Mihkelson Helir-Valdor Seeder Yoko Alender Kert Kingo Madis Milling Andrus Seeme Tiiu Aro Signe Kivi Aadu Must Sven Sester Riho Breivel Toomas Kivimägi Eduard Odinets Priit Sibul Dmitri Dmitrijev Aivar Kokk Jevgeni Ossinovski Riina Sikkut Ivi Eenmaa Rene Kokk Ivari Padar Imre Sooäär Enn Eesmaa Mihhail Korb Hanno Pevkur Mihhail Stalnuhhin Peeter Ernits Andrei Korobeinik Heljo Pikhof Timo Suslov Hele Everaus Siret Kotka Õnne Pillak Margit Sutrop Kalle Grünthal Heiki Kranich Siim Pohlak Aivar Sõerd Helle-Moonika Helme Igor Kravtšenko Kristina Šmigun-Vähi Anti Poolamets Mart Helme Eerik-Niiles Kross -
Surrealist Sources of Eastern European Animation Film
BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE Article Surrealist Sources of Eastern European Animation Film ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 28 DOI: 10.1515/bsmr-2015-0003 BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE ABSTRACT This article investigates the relationship between surreal- ism and animation fi lm, attempting to establish the char- acteristic features of surrealist animation fi lm and to deter- mine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation fi lm and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation fi lm in Eastern Europe can be seen as a continu- ation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period. INTRODUCTION ing also in sight the spatiotemporal context Surrealism in animation fi lm has been of production. an under-researched fi eld. While several It must be established from the out- monographs have been written on authors set that there are many ways to understand whose work is related to surrealism (Jan and interpret the notion of “surrealist ani- Švankmajer, Brothers Quay, Priit Pärn, Raoul mation fi lm”. In everyday use, “surreal” often Servais and many others), no broader stud- stands for something obscure and incom- ies on the matter exist. -
Mediation of Memory: Towards Transdisciplinary Perspectives in Current Memory Studies
TRAMES, 2008, 12(62/57), 3, 243–263 MEDIATION OF MEMORY: TOWARDS TRANSDISCIPLINARY PERSPECTIVES IN CURRENT MEMORY STUDIES Preface to the special issue of Trames Ester Võsu, Ene Kõresaar, Kristin Kuutma University of Tartu DOI: 10.3176/tr.2008.3.01 1. Introduction Memory has become one of the buzzwords in today’s humanities and social sciences. Concepts like ‘collective memory’ (Halbwachs 1950), ‘lieux de mémoire’ (Nora 1989, 1996, 1998), ‘cultural memory’ (Bal et al. 1999), ‘social memory’ (Fentress and Wickham 1992, Misztal 2003), and many others catch our attention in the titles of recently published books and articles, in tables of contents and lists of keywords. We are witnessing an increasing ‘memory boom’ (Winter 2000) in humanities and social sciences and a new field of research – memory studies – has emerged and develops rapidly. Under these circumstances we should, more than ever, pose ourselves the question – what do we mean by ‘memory’? Is memory an object of study, a unit of research, or is it a theoretical perspective through which we investigate other phenomena? What are the differences between the concepts of memory and history or memory and tradition? In which aspects do processes of individual memory and collective memory correlate, and in which they diverge? How far can we extend the sub-concepts related to memory like remembering, forgetting, or trauma? And how can individuals’ remembering be juxtaposed to the construction of social memory? What is the agency of language or artefacts in producing memory, in reflecting the experience of temporality? What kind of potential, individual and collective, cultural or political, does the inversion of temporal order extend in narratives of memory? The current special issue aims to raise some of these questions while imple- menting an interdisciplinary perspective on particular phenomena that arise from these explorations, in order to consider different aspects of memory with particular focus on cultural memory. -
On the Topics and Style of Soviet Animated Films
BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article On the Topics and Style of Soviet Animated Films ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 16 DOI: 10.1515/bsmr-2017-0002 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its develop- ment. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian ani- mation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s para- digm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow. -
Shifting Sands: Contemporary Trends in Powder Animation
Shifting Sands: Contemporary trends in powder animation Corrie Francis Parks1 1 University of Maryland, Baltimore Country, Visual Arts, 1000 Hilltop Circle, Baltimore, MD 21228, USA [email protected] Abstract. Backlit animation capitalizes on the purity of light pouring directly into the camera and no technique maximizes the nuances of that light better than sand animation. This paper will discuss the historical variations on sand animation, the physical properties of the material that result in typical movement patterns, and the contemporary evolution of the technique that break from the historical trends, due to the adoption of digital capture and compositing. Keywords: sand animation, hybrid animation, stopmotion, fluid frames 1 Introduction The mysterious art of powder animation is a technique to which I have deep personal connections as a practitioner, and one which represents the broader global trends of hybridization and handcrafted process in the animation field. This adoption of hybridity has brought a renewed interest to the technique, both for animator and for audiences. In this paper, I will give a brief overview of the technique and the common traits seen in historical and contemporary films that find their source in the unique properties of powdered material such as sand, salt, coffee and other dusts. Then I will discuss contemporary trends in the practice of this technique, based on new technology and accessibility. On occasion, I will speak generally about “sand animation” since this is the most common material in use, but the observations and conclusions apply to all powders used under the camera. The source of this research is from my own practice as an independent filmmaker cross-referenced with historical investigation and interviews with contemporary artists practicing powder animation techniques. -
Estonian Evergreen Trykk Pakett 09.02.2016.Indd
ESTONIAN Evergreen Books 1 Anton Hansen Tammsaare . 4 The New Devil of Hellsbottom . 5 Truth and Justice . 6 Jaan Kross . 8 The Czar’s Madman . 9 Between Three Plagues . 10 August Gailit . 12 ESTONIAN Toomas Nipernaadi . 13 Karl Ristikivi . 14 EVERGREEN All Souls’ Night . 15 Eduard Vilde . 16 BOOKS The Dairyman of Mäeküla . .17 Friedebert Tuglas . 18 At the End of the World . 19 Herman Sergo . 20 Spriteshoals . 21 Aadu Hint . 22 The Windswept Shore . 23 Juhan Jaik . 24 Selected Ghost Stories . 25 Oskar Luts . 26 The Spring . 27 Mati Unt . 28 Autumn Ball . 29 Raimond Kaugver . 30 Forty Candles . 31 Enn Vetemaa . 32 The Monument . 33 Mats Traat . 34 Coffee Beans . 35 Arvo Valton . 36 The Journey to the End of Infinity . 37 Viivi Luik . 38 Epp Ojamaa-Kuhn, In Dramatic (fragment,Vein 1964) from the collections of the Under and LiteratureTuglas Centre The Seventh Spring of Peace . 39 2 3 The New Devil of Hellsbottom (Põrgupõhja uus Vanapagan) has been translated into 14 languages. The English translation by Olga Shartze revised by Christopher Moseley was published by Norvik Press in 2009 under the title The Misadventures of the New Satan. Anton Hansen Text by Märt Väljataga The New Devil of Hellsbottom Põrgupõhja uus vanapagan O O K S TAMMSAARE B The last and perhaps most disturbing novel by the great Estonian novelist A. H. Tammsaare is a parable of redemption as well as a powerful piece of social critique. Although a radical agnostic and anticlerical publicist since his student V E R G R E E N days, A. -
Ja „25 Kauneimat Raamatut“ 1956 – 2010“ Mille Juhendajad on Kurmo Konsa (Phd) Ja Tiit Hennoste (Phd)
TARTU ÜLIKOOL Humanitaarteaduste ja kunstide valdkond Ajaloo ja arheoloogia instituut Infokorralduse õppekava Eesti raamatukonkursid „25 parimat raamatut“ ja „25 kauneimat raamatut“ 1956 – 2010 Magistritöö infokorralduse erialal Edith Hermann Juhendajad Tiit Hennoste, PhD Kurmo Konsa, PhD Tartu 2016 SISUKORD SISSEJUHATUS ......................................................................................................................................4 Lühendid ...............................................................................................................................................6 1. TEOREETILISED LÄHTEKOHAD ..................................................................................................7 1.1. Raamat kui artefakt .......................................................................................................................7 1.2. Ilu ja kogemuse kontekst .............................................................................................................10 1.3. Eesmärk ja uurimisküsimused .....................................................................................................12 2. UURIMISTÖÖ EMPIIRILINE KÄSITLUS JA TEEMA VARASEMAD KÄSITLUSED. AJALOOLINE JA RAHVUSVAHELINE KONTEKST NING EESTI KONKURSSIDE EELLUGU13 2.1. Empiirilise uurimustöö käik ........................................................................................................13 2.2. Teema varasemad käsitlused .......................................................................................................17 -
From a Genre Film to a Genre Film
Lauri K rk From a Genre Film to a Genre Film The given title actually summarises a vast ma- also result from representational devices—for jority of issues that are connected with Grigori instance, a melodrama or an action film. Genre Kromanov’s The Last Relic (Viimne reliikvia, inherently involves tradition. Tradition can be 1969), as well as pointing to the position the tied to cultural memory; it can act as its bearer. legendary film holds in Estonian film history. To A genre is nothing more than a means of imple- some extent, we are dealing with almost the first menting a rather significant cultural function. film that, after a couple of comedies in our cin- On the other hand, (genre) tradition stands for ematography of that time, was consciously de- a set of certain rules and conventions. signed as a genre film (a historical-romantic ad- Here we have come to the characteristics venture). On the other hand, it is a film that, in in the aspect which most interest us, and which the shadow of its historical scenery, from within solely belong to genre and the genre film. The the conditional regulations of a genre film, was rules of a genre dictate that there has to be able to address and affect its contemporaries. It laughter in a comedy and, similarly, song and also had enormous popularity among the view- dance is required in a musical. The rules are ers both in Estonia and in the Soviet Union as a set not only for the action taking place on the whole, as well as being distributed to more than screen but also for the audience.