DOCSLIB.ORG

Arc Productions: Selected Bibliography 1 the Higher Learning

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arc Productions: Selected Bibliography 1 the Higher Learning Arc Productions: Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Special Effects Cinematography in Film (Practice) Foster, Jeff. The Green Screen Handbook: Real-world Production Techniques. Indianapolis: Wiley, 2010. Menache, Alberto. Understanding Motion Capture for Computer Animation. Burlington, M.A: Morgan Kaufmann, 2011. Mitchell, A.J. Visual Effects for Film and Television. Oxford: Focal Press, 2012. Wright, Steve. Compositing Visual Effects: Essentials for the Aspiring Artist. Amsterdam: Elsevier/Focal Press, 2013. Special Effects Cinematography in Film (History and Theory) Glintenkamp, Pamela. Industrial Light and Magic: The Art of Innovation. New York: Abrams, 2011. Klein, Norman M. The Vatican to Vegas: A History of Special Effects. New York: New Press, 2004. McClean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge: The MIT Press, 2007. Miller, Ron. Special Effects: An Introduction to Movie Magic. Minneapolis: Twenty-First Century Books, 2006. Netzley, Patricia D. Encyclopedia of Movie Special Effects. Phoenix: Oryx Press, 2000. Pierson, Michele. Special Effects: Still in Search of Wonder. New York: Columbia University Press, 2002. Pinteau, Pascal. “Interview with Douglas Trumbull: Memories of 2001.” in Special Effects: An Oral History – Interviews with 38 Masters Spanning 100 Years. New York: Harry N. Abrams, 2004. 54-58. Prince, Stephen. Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick: Rutgers University Press, 2012. 1 Arc Productions: Selected Bibliography Rickitt, Richard. Special Effects: The History and Technique. London: Aurum Press, 2006. Sawicki, Mark. Filming the Fantastic: A Guide to Visual Effects Cinematography. Waltham, M.A: Focal Press, 2011. Smith, Thomas G. Industrial Light & Magic: The Art of Special Effects. New York: Ballantine Books, 1986. Turnock, Julie. “From Star Wars to Avatar: Contemporary Special Effects, Industrial Light and Magic, and the Legacy of the 1970s.” in Popping Culture. Murray Pomerance and Jon Sakeris (eds). New York: Pearson Education, 2010. 301-312. Vaz, Mark C. and Craig Barron. The Invisible Art: The Legends of Movie Matte Painting. San Francisco: Chronicle Books, 2002. Vaz, Mark C. and Patricia R. Duignan. Industrial Light & Magic: Into the Digital Realm. New York: Ballantine Books, 1996. Venkatasawmy, Rama. The Digitization of Cinematic Visual Effects: Hollywood's Coming of Age. Lanham, M.D: Lexington Books, 2013. Weishar, Peter. CGI: The Art of the 3D Computer-Generated Image. New York: Harry N. Abrams, 2004. 3D Animation (Practice) Beane, Andy. 3D Animation Essentials. Indianapolis: Wiley, 2012. Chopine, Ami. 3D Art Essentials: The Fundamentals of 3D Modeling, Texturing, and Animation. Oxford: Focal Press, 2011. Deng, Zhigang, and Ulrich Neumann. Data-driven 3D Facial Animation. London: Springer, 2008. Hague, Jim V., and Chris Jackson. Flash 3D: Animation, Interactivity, and Games. Amsterdam: Elsevier Focal Press, 2006. Kerlow, Isaac V. The Art of 3D Computer Animation and Effects. Hoboken, N.J: Wiley, 2009. MacGillivray, Carol, and Anthony Head. 3D for the Web: Interactive 3D Animation Using 3Ds Max, Flash and Director. Amsterdam: Elsevier Focal, 2005. O'Hailey, Tina. Hybrid Animation: Integrating 2D and 3D Assets. Burlington, M.A: Focal Press, 2010. Pardew, Les. Character Emotion in 2D and 3D Animation. Boston: Thomson Course Technology, 2008. 2 Arc Productions: Selected Bibliography Weishar, Peter. Moving Pixels: Blockbuster Animation, Digital Art and 3D Modelling Today. London: Thames & Hudson, 2004. Wells, Paul. The Fundamentals of Animation. Lausanne, Switzerland: AVA, 2006. Animation – General (History and Theory) Allan, Robin. Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney. Bloomington: Indiana University Press, 1999. Beckerman, Howard. Animation: The Whole Story. New York: Allworth Press, 2003. Bendazzi, Giannalberto. Cartoons: One Hundred Years of Cinema Animation. Bloomington: Indiana University Press, 1994. Buchan, Suzanne, David Surman, and Paul Ward. Animated 'Worlds'. Eastleigh, UK: John Libbey Pub, 2006. Bukatman, Scott. The Poetics of Slumberland: Animated Spirits and the Animating Spirit. Berkeley: University of California Press, 2012. Cavalier, Stephen. The World History of Animation. Berkeley: University of California Press, 2011. Crafton, Donald. Before Mickey: The Animated Film, 1898-1928. Cambridge, M.A: MIT Press, 1982. Faber, Liz and Helen Walters. Animation Unlimited: Innovative Short Films Since 1940. London, U.K: Laurence King, 2003. Grant, John. Masters of Animation. New York: Watson-Guptill Publications, 2001. Lehman, Christopher P. The Colored Cartoon: Black Representation in American Animated Short Films, 1907-1954. Amherst: University of Massachusetts Press, 2007. MacFadyen, David. Yellow Crocodiles and Blue Oranges: Russian Animated Film Since World War Two. Montreal: McGill-Queen's University Press, 2005. Neupert, Richard J. French Animation History. Oxford: Wiley-Blackwell, 2011. Paik, Karen. To Infinity and Beyond!: The Story of Pixar Animation Studios. San Francisco: Chronicle Books, 2007 Price, David A. The Pixar Touch: The Making of a Company. New York: Vintage books, 2009. 3 Arc Productions: Selected Bibliography Smoodin, Eric L. Animating Culture: Hollywood Cartoons from the Sound Era. New Brunswick, N.J: Rutgers University Press, 1993. Solomon, Charles. Enchanted Drawings: The History of Animation. New York: Knopf, 1989. Telotte, J.P. The Mouse Machine: Disney and Technology. Urbana: University of Illinois Press, 2008. Wells, Paul. The Animated Bestiary: Animals, Cartoons, and Culture. New Brunswick, N.J: Rutgers University Press, 2009. ---. Animation: Genre and Authorship. London: Wallflower, 2002. Stereoscopic (3D) Cinema (History and Theory) Arthur, Paul. “In the Realm of the Senses: IMAX 3-D and the Myth of Total Cinema.” Film Comment 32.1 (Jan-Feb 1996): 78-81. Johnston, Keith M. “Now Is the Time (to Put on Your Glasses): 3-D Film Exhibition in Britain, 1951- 55.” Film History: an International Journal 23.1 (2011): 93-103. ---. “’Three Times as Thrilling!’: The Lost History of 3-D Trailer Production, 1953-54.” Journal of Popular Film and Television 36.3 (Fall 2008): 150-160. Pennington, Adrian, and Carolyn Giardina. Exploring 3D: The New Grammar of Stereoscopic Filmmaking. Burlington: Focal Press, 2013. Smith, Michael D, Peter Ludé, Bill Hogan, and Ray Zone. 3D Cinema and Television Technology: The First 100 Years. White Plains, N.Y: Society of Motion Picture and Television Engineers, 2011. Symmes, Daniel L. “3-D: The Slowest Revolution.” American Cinematographer 64.7 (July 1983): 72-117. Zone, Ray. 3-D Filmmakers: Conversations with Creators of Stereoscopic Motion Pictures. Lanham, M.D: Scarecrow Press, 2005. ---. 3-D Revolution: The History of Modern Stereoscopic Cinema. Lexington: University Press of Kentucky, 2012. ---. Stereoscopic Cinema & the Origins of 3-D Film, 1838-1952. Lexington: University Press of Kentucky, 2007. 4 Arc Productions: Selected Bibliography Art Direction (General) Affron, Charles, and Mirella J. Affron. Sets in Motion: Art Direction and Film Narrative. New Brunswick, N.J: Rutgers University Press, 1995. Ettedgui, Peter. Production Design & Art Direction. Woburn, M.A: Focal Press, 1999. Heisner, Beverly. Hollywood Art: Art Direction in the Days of the Great Studios. Jefferson, N.C: McFarland & Co, 1990. Olson, Robert L. Art Direction for Film and Video. Boston: Focal Press, 1999. Rizzo, Michael. The Art Direction Handbook for Film. Amsterdam: Focal Press, 2005. Whitlock, Cathy. Designs on Film: A Century of Hollywood Art Direction. New York: It Books, 2010. 5 .
Load more

Recommended publications
  • Master Class with Douglas Trumbull Selected Bibliography 1 the Higher
    Master Class with Douglas Trumbull Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Redefining the “Cinema of Attractions” (General) Abel, Richard. “The Cinema of Attractions.” in The Cine Goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1994. ---. “The Cinema of Attractions in France, 1896-1904.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 63-75. Buckland, Warren. “A Rational Reconstruction of ‘The Cinema of Attractions’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 41- 56. Bukatman, Scott. “Spectacle, Attractions and Visual Pleasure.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 71-82. Elsaesser, Thomas. “Discipline through Diegesis: The Rube Film between ‘Attractions’ and ‘Narrative Integration’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 205-223. Gaudreault, André and Tom Gunning. “Early Cinema as a Challenge to Film History.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 365-380. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Wide Angle 8.
    [Show full text]
  • Legacy Effects Impact of Motion Control and CG
    Cory Radtke CVFX: Legacy Effects Impact of Motion Control And CG Imaging In Cinema “It’s easy to create something that has a lot of luster, but it’s very hard to make something that has a lot of depth.” These words, from John Dykstra – a motion control pioneer – encapsulate the state of mind in the film effects industry in the late 60’s. Special effects for cinema had reached a point which at audiences required more impressive visuals that were more detailed and realistic to suspend their disbelief. The weariness had set in, in the 50’s/early 60’s because of the bombardment of super low budget B-movie action and horror films. With the established use of stop motion and optical printing techniques, effects technicians- provoked by visionary filmmakers worked to push the envelope. The content also dictated the advancements necessary to tell/show the stories. One such film that changed the industry forever was Stanley Kubrick’s 2001: A Space Odyssey. The production of the film gave birth to motion control and and slit-scan photography, pushed by a visionary and a vision - “Do it right, do it better then do it all over again”(Costa 5). Kubrick helped open the door to following decades of visual marvels that have since become staples in motion picture effects work. Innovation after innovation, the technical achievements pushed forward by motion-control - soon after included: Star Wars, Close Encounters of the Third Kind, and Superman, and Blade Runner. (Edwards 2-9). As 2001 opened the door to motion-control, subsequent films – most notably Star Wars adapted and advanced the technology with the minds at the newly created ILM, by George Lucas.
    [Show full text]
  • Widescreen Weekend 2008 Brochure (PDF)
    A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom.
    [Show full text]
  • Decade Douglas Trumbull
    12 20 Information & Communication Technology March 2 Defining t h e Next Decade Creative Technology Keynote Speaker Designer Douglas Filmmaker Trumbull Inventor Entrepreneur Information Technology PROGRAM Dear Participants, Welcome! To the Information & Communication Technology Summit 2012. Forward thinking and innovative ideas are called for. We want to help create an academic environment that not only addresses the needs of our students now, but considers new ways of collaboration and envisioning that are open to us. We cannot build a better tomorrow alone. Through this ICT Summit, we have the opportunity to come together and meet the challenge to visualize and plan how we can use current developments in technology and plan for technical advances that react and respond to our needs, based on pedagogy and content. Collaboratively we, as a community, can place ourselves to be a forerunner of new ideas and technologies rather than simply following or matching the standards of the day. Thank you for attending the ICT Summit 2012. Regards, Patricia Galvis-Assmus 1 Schedule Coffee & Digital Inferno review: Students, faculty & AM 8:30 researchers share current and future IT related projects 9:00 Welcome - Patricia Galvis Assmus, IT Program Director Overview and Intro. to the Day: by Carol Barr, 9:15 Vice Provost Undergraduate & Continuing Education 9:30 Digital Inferno 9:50 Organize Working Groups 10:00 Working Session - Discussions Groups 10:30 Discussion Results 11:00 Break Open Education Initiative (OEI): 11:10 Presentation and announcement of recipients. 11:15 OEI Library Support Team 11:35 New Initiatives on Campus 12:00 Lunch PM Copyright and Faculty Rights Webinar (Dukes Room): 1:00 The challenges and solutions of applying copyright law in your classrooms, research and scholarly publications.
    [Show full text]
  • La Magie Des Effets Spéciaux D'effets Spéciaux
    PÉRIODIQUES Cinefex (1980- ). Riverside (Californie) : Cinefex. Collection de la médiathèque en date de 2012 : no 1 à 131 (1980 - 2012). Périodique trimestriel portant sur les effets spéciaux au cinéma. Make-up Artist Magazine (1993 - ). Vancouver (États-Unis) : Key publishing. Repères bibliographiques 85 Collection de la médiathèque en date de 2012 : no 26 à 99 (2000 à 2012). Périodique bimestriel portant sur l’art du maquillage au cinéma . Benitez, Juan Carlos. « Douglas Trumbull, pionnier des effets spéciaux Secrets et illusions : américains ». L'Écran fantastique , no 168, décembre 1997, pp.58-61. Ill. Douglas Trumbull évoque les souvenirs de sa carrière de créateur La magie des effets spéciaux d'effets spéciaux. exposition permanente Bernard, Sophie. « Animation et effets spéciaux ». Qui fait quoi , no 128, novembre-décembre 1994, p.32. Ill. Propos sur l'expertise du Québec en matière de logiciels d'animation et d'effets spéciaux. Bukatman, Scott. « The ultimate trip : special effects and kaleidoscopic perception ». Iris , no 25, printemps 1998. pp.75-97. Bibliogr. ; Ill. Propos sur la perception kaleidoscopique, le mouvement et l’immersion dans les films. Cantaloube, Thomas. « La magie digitale ». Cahiers du cinéma , no 513, mai 1997, pp.81-82, 84. Ill. Visite de deux des principales sociétés spécialisées dans la conception d'effets spéciaux : Industrial Light and Magic de George Lucas et Digital Domain de James Cameron . Caron, André. « Le clonage des acteurs par duplication visuelle ». Séquences , no 177, mars-avril 1995, pp.55-56. Ill. Survol des films utilisant la technique du « morphing » pour modifier ou remplacer un personnage de film. Dixon, Wheeler Winston. « The digital domain : some preliminary notes on image mesh and manipulation in hyperreal cinema/video ».
    [Show full text]
  • Cg Garage Podcast #284 Douglas Trumbull Director/Visual Effects Supervisor
    CG GARAGE PODCAST #284 DOUGLAS TRUMBULL DIRECTOR/VISUAL EFFECTS SUPERVISOR Douglas Trumbull, the genius behind the visual effects of “2001,” “Close Encounters” and “Star Trek,” on his 50-year quest to understand and improve cinema. Over the past 50 years, Douglas Trumbull has pushed the boundaries of filmmaking via stunning effects in​ 2001: A Space Odyssey​, ​Close Encounters of the Third Kind​ and ​Star Trek: The Motion Picture​. Today, his intricate understanding of cameras and projects has resulted in the Magi format, which promises gorgeous high-framerate films without the soap-opera look. Contents Useful links 2001: A Space Odyssey Douglas Trumbull on IMDb Developing Showscan Trumbull Studios: The Magi Process on YouTube Brainstorm Construct and Magi 1 Chris: This has been a long time that I've been wanting to do a podcast with you, I've got to tell you! Doug: Well, this is great. I'm glad we've finally pulled it off. Chris: Yeah, me too. Chris: Obviously, when we first met, we were in the throes of doing that “Construct” project. And we were excited about thinking about doing the Magi system, which we will talk about; how we took one minute of video and rendered the equivalent of 40 minutes of video, to get it done for Magi. Doug: Right. Chris: Which was quite amazing, to do that. Chris: But I'm sure, based on my audience, that my audience is really going to want to learn a little bit more about you and your history. And obviously, you have so many incredible stories; every time I talk to you to tell me some awesome stories.
    [Show full text]
  • Camera Operator of the Year Award
    BEST CINEMATOGRAPHY | CLAUDIO MIRANDA LAUDIO MIRANDA LAUDIO C | CINEMATOGRAPHY BEST “And everybody asked me would I try again...? I never did. As a matter of fact, I have never done anything with my life after that....” “A visual triumph that advances the art of screen storytelling leaps and bounds ahead of everything that has come before.....” – Pete Hammond, Hollywood.com US $7.00 AWARDS ISSUE 2009 Display Until April 2009 2009 Special Awards Issue THE OPERATING CAMERAMAN: TRANSITIONS 1 © 2009 Paramount Pictures. All Rights Reserved. PARAMOUNTGUILDS.COM WWW.SOC.ORG CAMERACAMERA OPERATOROPERATOR VOLUME 18, NUMBER 1 SPECIAL AWARDS ISSUE 2009 Filming Law & Order: Criminal Intent out east on the north shore of Long Island. Courtesy of Al Cerullo. Features: SOC Lifetime Achievement Awards Celebration Meet the people who are being honored this Cover: year for Lifetime Achievement as a Camera Operator, Camera Technician, Mobile Platform Camera Operator, and Still Photographer, for the President’s Award, for Outstanding Achievement in Technology, for Distinguished 6 Service, and for the 2nd annual Camera Operator of the Year Award. Filming a Heist Cover photo of by Dan Kneece SOC 53 Sean Penn from An Operator’s personal diary description of Milk. © 2008 Focus shooting the feature film Maiden Heist for Features. DP Ueli Steiger ASC. Departments: 2 President’s Letter 61 Transitions by Dan Kneece SOC 63 Last Take; Ad Index 4 News & Notes SOC donation to Childrens Hospital Vision 64 Roster of the SOC Center; Holiday Screening. as of 1/9/09 Camera Operator Letter from the President Special Awards Issue 2009 elcome to the 2009 Past recipients have felt that Editor .
    [Show full text]
  • Screen Genealogies Screen Genealogies Mediamatters
    media Screen Genealogies matters From Optical Device to Environmental Medium edited by craig buckley, Amsterdam University rüdiger campe, Press francesco casetti Screen Genealogies MediaMatters MediaMatters is an international book series published by Amsterdam University Press on current debates about media technology and its extended practices (cultural, social, political, spatial, aesthetic, artistic). The series focuses on critical analysis and theory, exploring the entanglements of materiality and performativity in ‘old’ and ‘new’ media and seeks contributions that engage with today’s (digital) media culture. For more information about the series see: www.aup.nl Screen Genealogies From Optical Device to Environmental Medium Edited by Craig Buckley, Rüdiger Campe, and Francesco Casetti Amsterdam University Press The publication of this book is made possible by award from the Andrew W. Mellon Foundation, and from Yale University’s Frederick W. Hilles Fund. Cover illustration: Thomas Wilfred, Opus 161 (1966). Digital still image of an analog time- based Lumia work. Photo: Rebecca Vera-Martinez. Carol and Eugene Epstein Collection. Cover design: Suzan Beijer Lay-out: Crius Group, Hulshout isbn 978 94 6372 900 0 e-isbn 978 90 4854 395 3 doi 10.5117/9789463729000 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2019 Some rights reserved. Without limiting the rights under copyright reserved above, any 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, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book.
    [Show full text]
  • Digital Art/Paint System Survey
    Digital Art/Paint System Survey ROBERT RIVLIN . he most fundamental question to be three-dimensional letters, or complex addressed in this survey is, What computerized "mapping" designs, then is a digital art/paint system? output the results a frame at a time, Secondly,T thesurvey provides a basis for usually onto film, taking up to six minutes comparison among the different systems, to assemble each frame of a complex designed to show where they are similar, sequence. where they vary, and prompt you to The systems outlined here are designed directly contact those manufacturers to perform "down and dirty" whose systems you wish to evaluate artwork-artwork which is, in the words seriously . of Peter Black pf Xiphias, "short turn- It is clear, now that the dust from last around/short burst." In typical newsroom year's NAB show is beginning to settle, applications, the images will be created that we have seen, in the course of just the within minutes, then displayed, usually past year alone, the birth of a brand new compressed into a box wipe, for seconds. type of image creation product-the Though some of the systems possess the digital art/paint system. Its predecessors ability to perform 'limited animation"- pre-date it by several years, including the by having a finished picture build up from NEC Action Track/Digital Strobe Action scratch, for instance, unit or by having colors that uses extensive digital processing flash on and off simulating motion, these and a digital framestore to generate often systems are not designed to produce abstract images out of existing video animation effects.
    [Show full text]
  • The Hollywood Cinema Industry's Coming of Digital Age: The
    The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
    [Show full text]
  • 0001 Title Page 9780240811628.Indd
    Spencer Drate & Judith Salavetz VFXA VISUAL TOURARTISTRY OF HOW THE STUDIOS CREATE THEIR MAGIC AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier any injury and/or damage to persons or property as a matter 30 Corporate Drive, Suite 400, Burlington, MA 01803, of product liability, negligence, or otherwise, or from any USA use or operation of any methods, products, instructions, or Linacre House, Jordan Hill, Oxford OX2 8DP, UK ideas contained in the material herein. © 2010 Elsevier, Inc. All rights reserved. Library of Congress Cataloging-in-Publication Data Drate, Spencer. No part of this publication may be reproduced or trans- VFX artistry : a visual tour of how the studios create their mitted in any form or by any means, electronic or mechani- magic / Spencer Drate, Judith Salavetz. cal, including photocopying, recording, or any information p. cm. storage and retrieval system, without permission in writing ISBN 978-0-240-81162-8 (pbk. : alk. paper) from the publisher. Details on how to seek permission, 1. Cinematography—Special eff ects. 2. Computer drawing— further information about the Publisher ’ s permissions poli- Special eff ects. 3. Digital video. I. Salavetz, Jütka. cies, and our arrangements with organizations such as the II. Title. Copyright Clearance Center and the Copyright Licensing TR858.D73 2009 Agency can be found at our website: www.elsevier.com/ 778.5 ′ 3—dc22 permissions . 2009027186 Th is book and the individual contributions contained in it British Library Cataloguing-in-Publication Data are protected under copyright by the Publisher (other than A catalogue record for this book is available from the British as may be noted herein).
    [Show full text]
  • Of Undergraduate Research in Communications
    ofElon Undergraduate Journal Research in Communications EJ Fall 2 0 1 3 Issue School of Communications Elon University The World of Journals Welcome to the nation’s only journal devoted to undergraduate research in communications. The website of the Council on Undergraduate Research lists about 120 undergraduate research journals nationwide (http://www.cur.org/resources/students/undergraduate_journals/). Some of these focus on a discipline (e.g., Journal of Undergraduate Research in Physics). Others are university-based and multidisci- plinary (e.g., MIT Undergraduate Research Journal). The Elon Journal is the only one with a focus on undergraduate research in journalism, media and communications. The School of Communications at Elon University is the creator and publisher of the online journal. The first issue was published in Spring 2010. The journal is published twice a year, with spring and fall issues, under the editorship of Dr. Byung Lee, associate professor in the School of Communications. The three purposes of the journal are: 1. To publish the best undergraduate research in Elon’s School of Communications each term, 2. To serve as a repository for quality work to benefit future students seeking models for how to do undergraduate research well, and 3. To advance the university’s priority to emphasize undergraduate student research. Articles and other materials in the journal may be freely downloaded, reproduced and redistributed without permission as long as the author and source are properly cited. Student authors retain copyright own- ership of their works. Celebrating Student Research This journal reflects what we enjoy seeing in our students -- intellectual maturing.
    [Show full text]