DOCSLIB.ORG

Single Concept Film Clip Project; Parts One and Two

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Single Concept Film Clip Project; Parts One and Two DOCUMR117 ROSUNO ED031919 64 Em 007 195 By-Miler. Elwood E. Director Single Con:ept Film Clip Project; Parts One and Two. Michigan State Univ.. East Lansing. Spons Agency-Office of Education (DHEW). Washington. DC. Bureau of Research. Bureau No -BR -5-0281 Pub Date I Dec 67 Contract -DEC -4 -16.030 Note 29 o.: Two poets Available from-Michigan State University. East Lansing, Michigan. Instructional Media Center EDRS Price PC -S125 HC 114.85 Descriptors-Audiovisual Aids. Classroom Materials. Classroom Techniques. Communications. DataProcessing. Filmstrip Projectors. *Filmstrips. Film Study. Indexes (Locaters). Indexing. Information Dissemination. Information Retrieval. Information Storage. Instructional Films. Instructional Materials.Instructional Media. *Instructional Technology. Perception. *Single Concept Firm Identifiers-Basic Indexing and Retrieval System. BIRS. Michigan State University. *Single ConceptFAm Clip Project This project had a two-fold objective. namely to record on film aspectsof a significant period in the history of education in the United Stateswhich had been reported almost entirely in print heretofore. and to organize and structurethis information so as to link theory with practice. to the improvementof instruction generally when used in teacher education programs. The first partof the project included a national conference on cartridged films inFebruary 1967. and is full documented in this report. The second part. based or. the findings of the first was concerned with an intensive invc:Itigation of the single conceptfilm idea. namely 'a short segment of film with a sr.vf::. discrete. and describableinstructional content'. The problem was to develop 'practicable systems for the selection.storage. maintenance. retrieval, distribution. and projectionof film clips (single-concept. dosed-loop films) from existing 16mm instructionalfilms'. This report states the problem and purpose of the project. and discusses its methods.results. conclusions. recommendations and projections. (CO) FINAL Rr1PORT CONTRACT NUMBER 0E-4-16-030 The Michigan State University SINGLE CONCEPT FILM ('TD PROJCT Part I Report On The NATIONAL CONFERENCE ONCARTRIDGED FILMS February 22, 23, and 24, 1967 JUNE 1, 1967 1 iasp lej*slid ow . INIVI v sasila MIN Mu a amo. memo U.S. Department of Health, Education, and Welfare Office of Education Bureau of Research U.S. DEPARTMENT Of HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS Of VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE Of EDUCATION POSITION OR POLICY. SINGLE CONCEPT FILM CLIP PROJECT Part I A report on the National t'r%nf....reinr.0 on Cartridged Films, held at Michigan State University on February 22, 23, and 2z14,1967. 0E-4-16-030 Dr. Elwood E. Miller, Project Director and Conference Chairman June 1, 1967 The research reported herein was performed pursuant to a contract with the Office of Education, U.S. Department of Health, Education and Welfare. Contractors undertaking such projects under Govern- ment sponsorship are encouraged to express freely their professional judgment in the conduct of the project. Points of view cr opinions stated do not, therefore, necessarily represent official Office of Education position ox policy. MICHIGAN STATE UNIVERSITY East Lansing, Michigan Fr%1P7'7'111"1 ) .00.4% M.R14 rrte. `. 2 v C k°*24 C "la 'lbC bo. I b1 C 1. PUBLICATION TABLE OF CONTENTS PAGE CHAPTER 3 I. Introduction Films on II. Modular Dczignfor a Series of Communication Theoryand the New Educational Media for usein Teacher 7 Education by Robert W. Wagner and Pitfalls - III. 8MM -- ItsPromises, Problems, As Viewed byFilm Producersand 31 Distributors by Albert R.Bailey Cartridged FilmEquipment --- Where DoWe IV. 43 Go From Here ??? by Elwood E.Miller 71 V. Promises and Pitfalls by Elwood E.Miller Charles G. Bollmann BIRS: A Systemof General PurposeComputer VI. 83 Programs forInformation Retrieval . by John F.Vinsonhaler . 107 VII. Information Storageand Retrieval Systems by Dennis H.Jaroh Research . 123 VIII. The Short Filmin Audiovisual by Thomas F.Baldwin Table of Contents Continued IX. A Comparative Study of the afectiveness of Using a Full Film and Short Format Films to Teach Chemistry 129 by Lloyd A. Trinklein X. Question Sets General Questions Needing a Position of Perception , .. 139 XI. Dr. Gabriel Ofiesh 151 XII. Dr. Paul Witt 157 XIII. Dr. James Brown 163 XIV. Summary . ........... 169 XV. Participants 179 ii POREWARD AND ACKNOWLEDGMENTS Final reports on the SingleConcept Film Clip Project have been issuedin two sections. Section One is the report onthe NATIONAL CONFERENCE ON CARTRIDGEDFILMS held on the Michigan State University CampusFebruary 22, 23, and 24, 1967. Part Two is the finalreport of the project,incorporating the description of procedures, thefindings, a description of the computer informationsystem and suggestions for further research. THE STUDY STAFF Director: July 1, 1964 through June30, 1965 Dr. James L. Page Director: July 1, 1965 through June30, 1967 Dr. Elwood E. Miller Project Associates: Dr. Castelle Gentry(1964-65) Mr. Charles G.Bollmann (1965-67) Mr. Dennis Jaroh(1966-67) Advisory Committee: Dr. Charles F.Schuller, Chairman Dr. John M. Mason Dr. T. Wayne Taylor Dr. Julian R. Brandou Dr. Horace C. Hartsell Dr. Lawrence M. Sommers Dr. John A. Ramsey Dr. James L. Page Professor Edward P. McCoy Staff Specialists: Dr. Lloyd Trinklein Mrs. Ardith Hanna Miss Joy Klug Mr. David Jones THE PRELIMINARY PAPERS The Conference Planning;Committee decided to request the preparationof three preliminary papers to send tothe participants thirty days ahead of the meeting. The strategy was to pre- pare thedele-3ates for the discourse that was to follow, in order toget the discussion to the "heart of the matter"in as short a time as possible. The following three papers were pre- pared specifically for theNational Conference on CartridyedFilms, reprinted and sent tothe Delegates in late January, 196-i. CHAPTER I INTRODUCTION THE NATIONAL CONFERENCEON CARTRIDGED FILMS During the course of thefirst two years devoted to the investigation of single conceptfilms and their sources at Michigan State University,it became apparent that anational meeting of some type was necessaryin order to fulfill many of the objectives and someof the functionsidentified by the staff members ofMichigan State. As a result, one of the major reasons forasking for a one-yearcontinuance of the Project, was to planand execute such aconference to be held on the Michigan Statecampus earlyin the 1967 calendar year. It seemed to thestaff of the Project thatthe major dimensions of a NationalConference should besomewhat broader than just those ofsingle concept films. True, the single concept movement firsttriggered the need for the conference and yet the staffhad arrived at animportant conclusion by the time theconference was planned. The true value of thesingle concept film perhaps wasas much in the cartridgingof the films as it wasin the nature of the films themselves. And so plans wereformulated for sponsoring a "Nations'.Conference on CartridgedFilms" both of the single concept and moretraditional variety to be held at Michigan StateUniversity during the one-year project extension. The Conference washeld in February of 1967. One of the majorfunctions of the Conference wasto disseminate information aboutthe findings of theSingle Concept Film Project at MichiganState University underthe financial sponsorship of the U.S.Office of Education. Therefore, the first partof the Conference wasdevoted to just such a report. Furthermore, it was feltthat a serious study was needed in the areaof standards so far asthe emerg- ing 8mm film world wasconcerned. So a second majorfunction of the Conference was aserious look at thestandards prob- lem as it related toboth single concept andother types of cartridged films. Therefore, the Conference wasdesigned to serve the dual purpose offormulating an intensivedialogue on single concept films and thefilm standards situation, aswell as serving as a vehicle fordissemination of informationand about the investigation atMichigan State. et 4 The selection ofparticipants by the PlanningCommittee was dividedin two generalcategories. The first category business and indus- included representativesfrom the American roughly equal numbers four trial community. They included in representatives of the film different groups. The first were production companieswho are concernedwith making films for film producers also pro- the educationalmarket. Many of these 8mm format duce single conceptfilms in the 8mm or the super in- fox- marketing toschools and universities.A second group manufacturers of equip- vited to sendrepresentatives, were the ment for use inretrieving such filmedinformation il.vui zingle Invitations were issued concept andother cartridged films. to all of themajor equipmentmanufacturers, whether or not they were presentlyengaged in makingequipment specifically for this field. Nearly all of themanufacturers responded represented and were representedat the meeting. A third group knowledge in- at the Conference werethe educational systems or newly emerging dustry representatives. These are some of the "systems" people who areconcerned with bothhardware and soft- ware so far asmarketing educationalpackages are concerned. Several people werepresent from thesenewly emerging American represented were the corporates structures. A fourth group serious concern in
Load more

Recommended publications
  • PAF 2015 ENG.Indd
    14th Festival of Film Animation 3–6 12 2015 Olomouc www.pifpaf.cz Catalogue PAF 2015 Acknowledgement: www.pifpaf.cz Danniela Arriado, Jiří Bartoník, Jana Bébarová, Petr Bilík, Petr Bielesz, Martin Blažíček, Michal Blažíček, Authors: Martin Búřil, Filip Cenek, Eva Červenková, Martin Čihák, Alexander Campaz, Martin Čihák, Eliška Děcká, David Katarína Gatialová, Marie Geierová, Vladimír Havlík, Helán, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Tamara Hegerová, Štěpánka Ištvánková, Jana Jedličková, Nela Klajbanová, Martin Mazanec, Marie Meixnerová, Alexandr Jeništa, Anna Jílková, Lucie Klevarová, Jiří Neděla, Jonatán Pastirčák,Tomáš Pospiszyl, Jakub Korda, Jana Koulová, Petr Krátký, Zdeňka Krpálková, Pavel Ryška, Matěj Strnad, Lenka Střeláková, Josef Kuba, Jiří Lach, Richard Loskot, Ondřej Molnár, Barbora Trnková, Veronika Zýková Hana Myslivečková, NAMU, Lenka Petráňová, Jan Piskač, Mari Rossavik, Radim Schubert, Kateřina Skočdopolová, Translators: Matěj Strnad, Barbora Ševčíková, Jan Šrámek, Petr Vlček, Magda Bělková, Nikola Dřímalová, Helena Fikerová, Kateřina Vojkůvková, FAMU Center for Audiovisual Studies, Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Café Tungsram and Ondřej Pilát, Zuzana Řezníčková, Samuel Liška, Marie Meixnerová, Michaela Štaffová Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Editor: Studies at the Faculty of Arts of Palacký University Olomouc, Veronika Zýková The One Minutes, The University of J. E. Purkyně Czech proofreading: Festival
    [Show full text]
  • Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
    MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time.
    [Show full text]
  • A#1140 -: Chilatenslibrarians Are Increasingly ,Aware- of The
    DOCOMEMS RESUME .p)- 077237 M 011 160 47'44 Ends in Children's Programs. A Bibliography Prepared by the Film Committee of the Children's and Young* People's Services Section oftheWisconsin Library Association. INSTITUTION Wisconsin Library Association; Madison. POEDATE 72 -NOTE 39p. AVAlIAELEFROMWisconsin Library, Association, 261 West Mifflin Street,,MadleOn-, j_WiscfOnSin-53703 = EDNS-PBICE MF-$O.65HC Not Available from DESORI-PTONS Bibliographies; : CatalCgSt. *Children;4Ti lm.Libraries;1 4,E-110S; -Guides A#1140 -: ChilatenSlibrarians are increasingly ,aware- of the 'value offilmsin programing::: films -are_ attractive to _children, -they _-_-illnitinate,the familiar ,;and i suggest new areas_ of interest to .explore,- and theyc:an_.ttoii-cw -,backgroundand open new -vistas : for the 41-71i*.a11.4-401411,40t.af40-0-111.-This -t-lti-P5.1-0cliti-On.,of the liStifig, -presentS-selections for-US!:in _- - ---,.. _-prfOgraMS--With-_-Children- frObs- gtadeS- three through _Sit,- with -information _ -,-,- -.- -- - .on- xi-inning,time,_-Prcidlider, :01S4i:biltCr 0'price, Whether itS-- black-and-white or -color,: and the :content. N bibliography of aids : forlibrary:use,a-_list of sources for- the selection of films, and a-cliktor--ofdistributors for purchase andrentalare riialtidEd: ._(SH)- ,=;-:±. FILMED FROM BEST AVAILABLE COPY 434odfosts, A_= Bibliography prepared.,by the Film Coamittee-=of' and xeisig;kekiii._!ir*!t*icks Sebtion:of the; A060.-ittion- WISCONSIN LIBRARY-ASSOCIATION 1 201 West Mifflinstieet- Nadiloti,Wis.3703 FILMS! IN'tifILDNEN'SiTNOGNANS-, A :Bibliography prepared' bzittie-FilmCommittee =of the Childten_is andYoungpeoPle!s Seitides -Section-ofthe Wisconsin Library AsSociation- 1972 U.S. DEPARTMENT OF HEALTH.
    [Show full text]
  • Images of Disaster in Film and Media
    EADP 2700 Syllabus – Fall Semester 2006 University of North Texas Spring Semester 2006 Emergency Administration and Planning Program Dept. of Public Administration EADP 2700: Images of Disaster in Film and Media Professor: Dr. Jack L. Rozdilsky Office Location: Wooten Hall 360 E-mail: [email protected] Phone: 940-565-3786 This Course Meets on Monday Afternoons from 3:00 to 5:50pm in 222 Wooten Hall I. EADP 2700 Fall Semester 2006 Syllabus The purpose of this syllabus is to provide a course description, to state the objectives for the course, to describe course expectations, to provide the planned schedule of topics to be covered during the semester, to specify the course’s grading system, to provide grading worksheets for the semester, to specify important dates for the course, to provide a description of the meaning of grades, and to state University and Departmental polices related to disability accommodations and cheating / plagiarism. As the field of emergency management is event driven, the Professor retains the right to alter the syllabus, as needed. While alterations are not planned, if any changes are made to this document they will be clearly announced at the beginning of class periods. II. Course Description The purpose of this course is to provide a context for better understanding the relationship between filmed programs and disaster management. The course begins with the suggestion that filmed programs are an important factor in contributing to society’s perception and understanding of both emergency management and disasters themselves. As film and mass media are ubiquitous in today’s world, it can be argued that much of the basis for understanding contemporary societal issues is provided by some form of filmed programs.
    [Show full text]
  • Scms 2017 Conference Program
    SCMS 2017 CONFERENCE PROGRAM FAIRMONT CHICAGO MILLENNIUM PARK March 22–26, 2017 Letter from the President Dear Friends and Colleagues, On behalf of the Board of Directors, the Host and Program Committees, and the Home Office staff, let me welcome everyone to SCMS 2017 in Chicago! Because of its Midwestern location and huge hub airport, not to say its wealth of great restaurants, nightlife, museums, shopping, and architecture, Chicago is always an exciting setting for an SCMS conference. This year at the Fairmont Chicago hotel we are in the heart of the city, close to the Loop, the river, and the Magnificent Mile. You can see the nearby Millennium Park from our hotel and the Art Institute on Michigan Avenue is but a short walk away. Included with the inexpensive hotel rate, moreover, are several amenities that I hope you will enjoy. I know from previewing the program that, as always, it boasts an impressive display of the best, most stimulating work presently being done in our field, which is at once singular in its focus on visual and digital media and yet quite diverse in its scope, intellectual interests and goals, and methodologies. This year we introduced our new policy limiting members to a single role, and I am happy to say that we achieved our goal of having fewer panels overall with no apparent loss of quality in the program or member participation. With this conference we have made presentation abstracts available online on a voluntary basis, and I urge you to let them help you navigate your way through the program.
    [Show full text]
  • Blue Documentary As a Tool for Marine Life Conservation Nurul Hidayah Mat, Cardiff University, United Kingdom the Asian Conferen
    Blue Documentary as a Tool for Marine Life Conservation Nurul Hidayah Mat, Cardiff University, United Kingdom The Asian Conference on Media, Communication and Film 2017 Official Conference Proceedings Abstract Human activities, including over-exploitation, food consumption, tourism, and many other economic related activities are found to have significant impacts on the ocean. In Malaysia, it is considered as a major contributor to marine life extinction. Therefore, our responsibility is to ensure the continuity of a sustainable marine ecosystem while preventing any possible extinction for the future generations to enjoy. Scholars through previous research claim that lack of information has led to ignorance amongst the public about the importance of marine life. Therefore, a number of studies have been carried out to analyse a documentary’s role in promoting species conservation awareness, which consequently leads to actions being taken. Following that, this study asserts that blue documentary (BD) plays a crucial role in providing information about environmental degradation, particularly marine life extinction. It also changes public’s perception and stimulates conservation action. Following that, this study discusses and analyses the pedagogical functions of blue documentary that could foster positive relationships between human and non-human, and become a mechanism to grab people’s attention while changing public’s perception on the marine life. In addition, it can also be an additional learning source, a platform for knowledge dissemination on scientific discoveries, a vehicle for multiple parties’ collaboration in highlighting the complex issue of the marine life, and device to push policy makers to sanction biodiversity conservation plans. It is therefore undeniable that knowing the truth about the condition of local marine life from a documentary can be a driving factor for viewer’s pro-conservation actions.
    [Show full text]
  • Annual Report 2005 020 7440 1570 020 7287 0141 British Board of Film Classification 3 Soho Square W1D 3HD London T F
    Design and Art Direction Hansell Design,Design and Art Direction London. Ben Rice. Photography Pierrot Printed by of Film Classification Report Annual 2005 British Board Annual Report 2005 British Board of Film Classification 3 Soho Square London W1D 3HD T 020 7440 1570 F 020 7287 0141 www.bbfc.co.uk www.cbbfc.co.uk www.sbbfc.co.uk Inside front cover Pride and Prejudice ‘U’ March of the Penguins ‘U’ Inside back cover The Chronicles of Narnia - The Lion the Witch and the Wardrobe ‘PG’ Sideways ‘15’ Previous page King Kong ‘12A’ Wallace & Gromit in the Curse of the Were-Rabbit ‘U’ President’s introduction 3 Director’s report 9 Accountability 14 Consulting the public 14 Consumer Advice 16 Letters from the public 16 Media education 20 On-line education 21 Research 21 Charitable donations 23 European classifiers conference 23 Customer helpline 23 Enforcement 24 Statistics 25 Classification 29 ‘U’ Universal 29 ‘PG’ Parental Guidance 33 ‘12A’ Cinema ‘12’Video 40 ‘15’ 42 ‘18’ 52 ‘R18’ 64 Digital media 65 Rejects 70 Legal issues 73 Video Appeals Committee 77 Consultative Council 81 Advisory Panel on Children’s Viewing 86 Business Review 90 Report of the Directors 90 Accounts 93 The BBFC Vision Statement 103 3 President’s introduction Sir Quentin Thomas he BBFC had major successes At the Board we do not share this view. in 2005: publishing new There is no doubt that: classification guidelines; winning unanimously the appeal against its • regulatory regimes will need to continue practice in distinguishing ‘18’ and to adapt in the light of the new services; T‘R18’ sex works; and classifying a record number of works.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • MIS AGENCY National Endowment for the Humanities (NFAH), Waskington*D.C
    DOCUMINT 2250112 'SD 152 616 SO 010-579 AUTHOR Hellman, Nary TITLE Popular Culture: Mirror of American Life. Source 5 = Book. Courses by Newspaper. INSTITUTION California Univ., San Diego. Univ. Extension. MIS AGENCY National Endowment for the Humanities (NFAH), WasKington*D.C. PUB DATE 77 NOTE 59p.; For related documents, see SO 010 577-580 AVAILABLE FROM Publisher's Inc., 243 12th Street, Drawer P, Del Mar, California 92014 ($2.50 paperbound) EDRS PRICE MF-$0:83 Plus Postage. HC Not Available fro' BUS. DESCRIPTORS Adult Education; Broadcast Industry; Community Programs; Cultural lieges; Culture; *Enrichment Programs; Females; Films; Futures. (of Society); Group Discussion; Husan Living; *Instructional Materials ;.' *Life Style; *Hass Media; Minority Groups; Music; News MedialNewspapers; 4Populat Culture; Resouie Guides; Secondary Education; Stereotypes; Television IDENTIFIERS United States ABSTRACT The sourcebook is one of several supplementary materials for a 15-week newspaper course about popular culture in the __United States. Program ideas and related resources compiled in the sourcebook' are designed to help civic and group leaders and educators plan educational community programs based on the coursetopics. Section one describes ways in which the program can be used in community and - academic programs. Section two,'Suggestions andAids for Educational Community Programs,'suggests backgroundreading in specific periodicals and books, discussion guestionso'and. group research activities for each,of the 15 course topics.Section three describes in detail the activities and publications of 48 national a.0 private organizations concerned with rar4ous\facets ofpopular cuature, including the Agency for Instructional Television, American Film Institute, Federal Communicatipns Commission,,National Association of Broadcasters, and Twentieth Century Fund.
    [Show full text]
  • Timing for Animation
    Timing for Animation Related Focal Press Visual Eff ects and Animation Titles: The Animator’s Guide to 2D Computer Animation Hedley Griffi n Producing Animation Catherine Winder and Zahra Dowlatabadi Digital Compositing for Film and Video Steve Wright A Guide to Computer Animation: for TV, Games, Multimedia and Web Marcia Kuperberg Essential CG Lighting Darren Brooker Film Animation Dan McLaughlin Character Animation in 3D Steve Roberts Personal Animation: Create & Distribute Your Film Steve Subotnick For more information on Focal Press titles visit www.focalpress.com Timing for Animation Harold Whitaker and John Halas Updated by Tom Sito 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 Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 1981 Reprinted 1990, 1997, 1999 (twice), 2000, 2001, 2002 Second edition 2009 Copyright © 2009 Harold Whitaker, John Halas & Tom Sito. Published by Elsevier Ltd. All rights reserved. The rights of Harold Whitaker, John Halas & Tom Sito to be identifi ed as the authors of this work have been asserted in accordance with the Copyright, Designs and Patents Act 1988 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 ( ϩ 44) (0) 1865 843830; fax ( ϩ 44) (0) 1865 853333; email: [email protected] .
    [Show full text]
  • The American Film Institute and Philanthropic Support For
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier “IN THE BEST INTERESTS OF THE COUNTRY”: THE AMERICAN FILM INSTITUTE AND PHILANTHROPIC SUPPORT FOR AMERICAN EXPERIMENTAL AND INDEPENDENT CINEMA IN THE 1960s. BY R CI R RE A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR IN PHILOSOPHY AT EDINBURGH NAPIER UNIVERSITY APRIL 2013 ii Contents Tables ........................................................................................................................ vi Figures ....................................................................................................................... vi Acknowledgements .................................................................................................. vii Abbreviations .......................................................................................................... viii Abstract ..................................................................................................................... ix INTRODUCTION .......................................................................................................... 1 Defining Experimental and Independent Cinema ....................................................... 2 Personal Films and the Medium-Specific Evolution of Avant-Garde Cinema ........... 6 Philanthropic Support and Avant-Garde Arts ........................................................... 12 Experimental Cinema in Academic Institutions ......................................................
    [Show full text]
  • 12 Film Clips Volume 8, Number 2 FESPACO
    40 Acres And AMule Filmworks a OW ACCEPTING SCRIPTS © Copyright Required DEVELOPMENT DEPARTMENT • 8 ST. FELIX STREET • BROOKLYN, NY 11217 Close Up 6 Cauleen Smith speaks from her soul and Thandie Newton scores big in the movies. 10 World View Bridgett M. Davis returnedfrom the 1994 Cannes Film Festival with disturbing revelations about the state ofAfrican American cinema. Black Film Review 12 Film Clips Volume 8, Number 2 FESPACO... Windows on the World explores the Galapogos 10th Anniversary Issue Islands... 95'...John Carstarphen takes a humorous look at Corporate & Editorial Offices 2025 Eye Street, NW Black romance...Danny Glover does storytelling. Suite 213 Washington DC 20006 Tel. 202.466.2753 FEATURES Fax. 202.466.8395 e-mail 14 In Our Own Image [email protected] SHERI PARKS Editor-in-Chief Why African American women are a vitalforce in the film industry. Plus Leasa Farrar-Frazer the Daughters ofthe Diaspora Filmography. Consulting Editor Tony Gittens (Black Film Institute) Art Direction & Design 16 Keys to the Kingdom Lorenzo Wilkins for SHADOWORKS PHYLLIS K. KLOTMAN AND JANET C. CUTLER. Contributing Editors Jacqueline Shearer was the personification ofcultural truth, commu­ Patricia AUfderheide nity activism and the celebration oflife. In a final conversation she Thomasina Sligh TaRessa Stovall shares her convictions and insights. Contributors Natalie Bullock 20 Recall and Recollect: Excavating the Life History of Eloyce King Patrick Gist Julia Chance GLORIA J. GIBSON-HuDSON Janet K. Cutler Eugenia C. Daniels The life ofa foremother ofBlack cinema is brought to light. Bridgett M. Davis Kwame-Cumale Fitzjohn Gloria J. Gibson-Hudson 22 Beyond Black and White TJ Johnson Phyllis R.
    [Show full text]