DOCSLIB.ORG

Transformative Works and Cultures, Special Issues: Fan/Remix Video, No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Transformative Works and Cultures, Special Issues: Fan/Remix Video, No Transformative Works and Cultures, special issues: Fan/Remix Video, No. 9 (March 15, 2012) Special issue 1 Julie Levin Russo & Francesca Coppa, Fan/remix video (a remix) Theory Paul Booth, Mashup as temporal amalgam: Time, taste, and textuality Tisha Turk & Joshua Johnson, Toward an ecology of vidding Virginia Kuhn, The rhetoric of remix Kim Middleton, Remix video and the crisis of the humanities Praxis Sarah Fiona Winters, Vidding and the perversity of critical pleasure: Sex, violence, and voyeurism in "Closer" and "On the Prowl" Agnese Vellar, Spreading the cult body on YouTube: A case study of "Telephone" derivative videos Kathleen Amy Williams, Fake and fan film trailers as incarnations of audience anticipation and desire Symposium Martin Leduc, The two-source illusion: How vidding practices changed Jonathan McIntosh’s political remix videos Zephra Doerr, Abridged series and fandom remix culture Forrest Phillips, The Star Wars franchise, fan edits, and Lucasfilm Interview Counteragent, Documenting the vidders: A conversation with Bradcpu Brett Boessen, Interview with Eric Faden and Nina Paley Desiree D'Alessandro, Diran Lyons, Desiree D'Alessandro and Diran Lyons bear arms: Weapons of mass transformation Multimedia Alexandra Juhasz, Fred rant Elisa Kreisinger, Queer video remix and LGBTQ online communities Ian Roberts, Genesis of the digital anime music video scene, 1990–2001 Jonathan McIntosh, A history of subversive remix video before YouTube: Thirty political video mashups made between World War II and 2005 Review Lindsay Giggey, "Television and new media: Must-click TV," by Jennifer Gillan Transformative Works and Cultures (TWC), ISSN 1941-2258, is an online-only Gold Open Access publication of the nonprofit Organization for Transformative Works. TWC is licensed under the Creative Commons Attribution-Noncommercial 3.0 Unported License. Download date: March 15, 2017. For citation, please refer to the most recent version of articles at TWC. Transformative Works and Cultures, Vol 9 (2012) Editorial Fan/remix video (a remix) Julie Levin Russo Brown University, Providence, Rhode Island, United States Francesca Coppa Muhlenberg College, Allentown, Pennsylvania, United States [0.1] Abstract—Editorial for Transformative Works and Cultures, no. 9 (September 15, 2012). [0.2] Keywords—Anime music video; Appropriation; Fan production; Fan trailers; Mashup; Political remix video; Vidding Russo, Julie Levin, and Francesca Coppa. 2012. "Fan/Remix Video (A Remix)." In "Fan/Remix Video," edited by Francesca Coppa and Julie Levin Russo, special issue, Transformative Works and Cultures, no. 9. doi:10.3983/twc.2012.0431. [1.1] Remix, even moving image remix, is hardly a new phenomenon. Indeed, the buzzword has gathered such momentum in cultural discourse that it begins to seem retrospectively that everything is a remix (http://everythingisaremix.info). Copying and overpainting in the Renaissance (http://www.time.com/time/world/article/0,8599,2105928,00.html); the ascendance of pop art; Bach's "Goldberg Variations"; the analog techniques of early hip­hop turntablists (http://thomson.co.uk/blog/wp­ content/uploads/infographic/interactive­music­map/index.html); the repertoire of folklore; surrealist films of the 1930s—as these varied examples indicate, remix as a trope converges with our idea of creative production itself. At least, this is a common refrain among advocates of copyright reform, who have argued that culture always builds on the past (figure 1). Figure 1. Screen shot from "RIP: A Remix Manifesto," by Brett Gaylor (2009) (http://ripremix.com/). [View larger image.] Joseph Cornell - Rose Hobart (1936) Video 1. "Rose Hobart" by Joseph Cornell (1936) (http://www.sensesofcinema.com/2001/cteq/hobart/). [1.2] Remix thus perhaps embodies our more pervasive sense of a postmodern repudiation of artistic principles like originality, authenticity, or aura, to the degree that it can characterize our audiovisual culture as a whole. Nonetheless, as a practice that extends beyond music subcultures, the term is most closely associated with the historical specificities of our contemporary moment at the level of technology, powerful personal computers, consumer digital media devices, and Web 2.0. Remix video in particular has only recently blossomed into a widespread popular phenomenon. Vidding, political remix, DIY media, trailer mashups, tribute videos, memes, machinima, fan films—we are in the midst of an explosion in vernacular creativity that appropriates, celebrates, critiques, and transforms commercial entertainment. Technological innovations and Internet platforms support a developing ecology of video remix forms with unprecedented reach, richness, and cultural influence. At the same time, the value and legitimacy of this popular production is hotly contested on the basis of artistic merit, traditional literacies, and intellectual property. [1.3] In this special issue, we zoom in on questions foregrounded by the proliferation and mainstreaming of remix video over the past decade. Not coincidentally, this summer will mark the 10th anniversary of VividCon (http://vividcon.com), a convention founded at a time when the fan vidding community was weathering the transition to digital editing and an associated influx of new devotees. It would have been difficult then to anticipate the scale of this transformation, both in the prevalence of fan music videos (which are now a YouTube staple) and in their new interchanges with a vast ecology of remix practice. As mashup video genres increasingly coexist, cross­ pollinate, and collide online, emerging scholarly canons and debates on these distinct traditions can become similarly intersectional and mobile. We aim to bring diverse critical engagements to this conjuncture by fostering connections between scholars and fans across disciplines and subcultures. 2. Remix culture [2.1] It's hard to believe we're only 7 years out from YouTube's early days in the spring of 2005 (http://infographiclabs.com/infographic/history­of­online­video/). While this Web startup was far from the first or last venture in Internet video, its pioneering features (including encoding, streaming, and embedding) and critical mass of users (facilitated by social components) rapidly positioned it as the destination for video online. With YouTube, the capacity of digital technologies to popularize all links in the video chain—production, distribution, appropriation—came to fruition. It's already hard to imagine our culture without ubiquitous access to audiovisual content from across the amateur­professional spectrum and the ensuing predilection to share, modify, and spread it. In less than a decade, video has become a media vernacular in unprecedented ways. As an example, consider both the content and the form of video responses to Jean Burgess's 2008 essay "'All Your Chocolate Rain Are Belong to Us'? Viral Video, YouTube and the Dynamics of Participatory Culture" by students in the course Studies in Digital Culture at De Motfort University (http://www.youtube.com/playlist?list=PL690C70E82197ECC2). Video Responce to Jean Burgess' Essay.avi Video 2. "Video Summary of Jean Burgess' Essay…" by Jess Wager (2011). [2.2] It's important to remember that remix and participatory media are not synonymous with the digital. Appropriation has been a hallmark of 20th­century art practice, customarily dated back to Duchamp's readymades (http://kiki­miserychic.livejournal.com/192417.html). And a succession of innovations in more affordable and mobile recording technologies from 16mm film (1930s) to the Portapak video camera (1970s) have supported visions of independent grassroots media production. Digital media, however, represents a qualitative change in the possibilities and implications of popular video making. According to Lev Manovich's axiomatic textbook The Language of New Media, the two fundamental principles of computerization are numerical representation and modularity (2002, 27– 31). It follows that audiovisual content is today subject to quantification and algorithmic manipulation based on the decomposition and recomposition of its discrete units. What we now understand as media on any screen is essentially premixed by the processes of digitization into modular elements (the smallest of which are 0s and 1s), underpinning the explosion of what we have come to think of as remix culture. Figure 2. "Outline of Lev Manovich's The Language of New Media," created by Carlton (2008). [2.3] In this present­day context, Eduardo Navas (2010) defines remix culture as "a global activity consisting of the creative and efficient exchange of information made possible by digital technologies…[and] supported by the practice of cut/copy and paste." In this more precise definition, remix, which originated as a term in hip­hop and disco subcultures, is based on sampling: taking excerpts of one or more existing works and recombining them into a new work. Before computerization, various forms of remix relied on specific technical practices dependent on distinct media. The digitization of media allows remix to function as a generalized principle of cultural production. Although software interfaces may vary, "cut/copy and paste"—a corollary of "numerical representation and modularity"—is now an intuitive operation to anyone who has used Microsoft Word or cropped a profile pic. For the purposes of this special issue, we consider remix video to include not only reedits of appropriated footage but other styles with a clear transformative logic. This might encompass
Load more

Recommended publications
  • Remix Survey 7-6-2010-2
    Remix Culture Survey Instrument Which of the following do you currently own? (check all that apply) • High-definition television set • DVD Player • Personal Video Recorder (e.g. TiVo) • Cable/Satellite television connection • Video Game console (e.g. XBOX, PlayStation) • Portable video game device (e.g. Nintendo DS, PSP) • High-speed internet connection (e.g. DSL, cable modem) • Stereo system or portable CD player • Portable MP3 player (e.g. iPod) • Satellite radio (XM, Sirius) • Turntables • Video camera • E-book reader (e.g. Kindle) • Tablet computer (e.g. iPad) • Smartphone (e.g. iPhone, Blackberry, Droid) • A non-smartphone mobile phone (phone calls and text but doesn’t have more advanced features like video and web) How often have you done the following activities in the past month? Never Rarely Sometimes Often Daily or more • Watched TV shows or movies on a TV set (not computer) • Played non-online games on a console (e.g. XBOX, PlayStation) • Played non-online games on a computer • Listened to CDs • Listened to digital music (e.g. MP3s) • Listened to the radio • Read books • Read newspapers or magazines • Download or streamed a movie, television show, or video clip online. • Played a game online • Downloaded or streamed music online For the remainder of this survey, please consider the following definitions: Sample-based media: Creating something different using elements of preexisting media (pieces of music, games, shows, video, text, or photos). There are two specific subgenres of sample based media: • Remix: Adding, taking out, mixing, combining or editing your own elements or effects with preexisting media (e.g. film, music, video games) to produce something different • Mash-up: Combining only elements of preexisting media together (e.g.
    [Show full text]
  • Digital Fanfic in Negotiation: Livejournal, Archive of Our Own, and the Affordances of Read-Write Platforms
    Digital fanfic in negotiation: LiveJournal, Archive of our Own, and the affordances of read-write platforms. Introduction Fanfiction is the unauthorized rewriting or adaptation of popular media narratives, utilizing corporately owned characters, settings and storylines to tell an individual writer’s own story (self-ref, 2017). It is often abbreviated to fanfic or even fic, and exists in a thoroughly grey legal area between copyright infringement and fair use (Tushnet 1997, McCardle 2011). Though there were a few cases of cease-and-desist letters sent to fan writers in the twentieth century, media corporations now understand it is useless to attempt to prosecute fanfic writers – for one thing, there are simply too many of us,1 and for another it would be terrible publicity. Though modern fanfic can be reliably dated to the 1960s (Jenkins 1992), it is now primarily an online practice, and the fastest growing form of writing in the world (self ref). This paper uses participant observation and online ethnography to explore how fanfiction archives utilize digital affordances. Following Murray, I will argue that a robust understanding of digital read-write platforms needs to account for the social and legal context of digital fiction as well as its technological affordances. Whilst the online platform LiveJournal in some ways channels user creativity towards a more self-evidentially ‘digital’ texts than its successor in the Archive of Our Own (A03), the Archive encourages greater reader interactivity at the level of archive and sorting. I will demonstrate that in some ways, the A03 recoups some of the cultural capital and use value of print.
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • 1 the Versions Project: Exploring
    THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18
    [Show full text]
  • An Analysis of Melodic Plagiarism Recognition Using Musical
    An Analysis of Melodic Plagiarism Recognition using Musical Similarity Algorithms Nick Schuitemaker ([email protected]) College number: 6259855 Bachelor Kunstmatige Intelligentie, UU June 2020 - 7.5 ECTS Attendant 1: Frans Adriaans Attendant 2: Jakub Dotlacil Abstract What we can see from this is that the rules are vague and often inconsistent, and this is a significant problem. Com- Court cases on melody infringement are decided based on panies can lose millions of dollars in a lawsuit that is based vague unspecified terms like the ‘substantial similarities’ be- tween melodies. It is then up to experts to unbiasedly explain on vague inconsistent rules like this. To solve this problem, these concepts to an untrained judge, which has often lead to we attempt to find an objective solution to help measure pla- controversial verdicts. This paper presents an attempt at ob- giarism. Many algorithms have been proposed to determine jectifying vague terms like ‘substantial similarity’ in cases of melodic plagiarism by testing whether existing melodic sim- similarities between songs. Mainly, these are so-called ‘Fin- ilarity algorithms can help determine plagiarism. Perceived gerprinting, algorithms designed to recover a song based on similarity by ordinary humans (intrinsic test) and expert anal- a possibly inaccurate sample. We intend to seek out the fea- yses in court (extrinsic test) are used to gather requirements that an algorithm needs to meet in order to accurately predict sibility of using these algorithms to determine plagiarism in plagiarism. Some well-known similarity algorithms and pre- music. This contributes to the area of Artificial Intelligence processing algorithms are presented and analyzed on whether by finding important use for computational methods to aid they meet the requirements.
    [Show full text]
  • Audiences, Gender and Community in Fan Vidding Katharina M
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos.
    [Show full text]
  • The Fan Studies Network Conference 24-25 June 2017
    THE FAN STUDIES NETWORK CONFERENCE 24-25TH JUNE 2017 CENTRE FOR PARTICIPATORY CULTURE UNIVERSITY OF HUDDERSFIELD PROGRAMME FRIDAY 23rd JUNE 17:30 PARTICIPATORY CULTURE MATTERS Roundtable discussion and launch event for the University of Huddersfield Centre for Participatory Culture (Free entry to all FSN2017 delegates) 19:30 SOCIAL EVENT: WINE RECEPTION (SPONSORED BY THE LAUNCH OF THE CENTRE FOR PARTICIPATORY CULTURE) AND FAN STUDIES QUIZ SATURDAY 24th JUNE 09:00 – 09:30 REGISTRATION 09:30 – 10:30 KEYNOTE Dr Louisa Stein: Fandom/Resistance 10:30 – 10:45 BREAK 10:45 – 12:15 PARALLEL PANELS Panel A: Rethinking Fan Studies Panel B: Genre and Fandom Panel C: Ageing Fans and Ageing Celebrities in Popular Media Culture 12:15 – 13:15 LUNCH 13:15 – 14:45 PARALLEL PANELS Panel D: Fantagonisms: Interrogating ‘Toxic’ Fandom Panel E: Mainstreaming Fandom Panel F: Transcultural Fandom 14:45 – 15:00 BREAK 15:00 – 16:30 PARALLEL PANELS Panel G: New Perspectives on Fandom and Neoliberalism Panel H: Transmedia Tourism and Participatory Cultures Panel I: Power 16:30 – 16:45 BREAK 16:45 – 18:00 SPEED GEEKING 18:00 – 19:30 THE FAN STUDIES NETWORK FIFTH BIRTHDAY PARTY (featuring a wine reception) 20:30 CONFERENCE DINNER SUNDAY 25th JUNE 09:00 – 09:30 REGISTRATION 09:30 – 11:00 PARALLEL PANELS Panel J: Performing Fandom Panel K: Fan/Producer Relationships Panel L: Memory and Long-term Fandom 11:00 – 11:15 BREAK 11:15 – 12:45 PARALLEL PANELS Panel M: Fan Practices Panel N: The CW Network: Teen Shows, Fanagement and the Organisation of the Fan Community Panel
    [Show full text]
  • Music Law and Business: a Comprehensive Bibliography, 1982-1991 Gail I
    Hastings Communications and Entertainment Law Journal Volume 13 | Number 4 Article 5 1-1-1991 Music Law and Business: A Comprehensive Bibliography, 1982-1991 Gail I. Winson Janine S. Natter Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Gail I. Winson and Janine S. Natter, Music Law and Business: A Comprehensive Bibliography, 1982-1991, 13 Hastings Comm. & Ent. L.J. 811 (1991). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol13/iss4/5 This Special Feature is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Music Law and Business: A Comprehensive Bibliography, 1982-1991* By GAIL I. WINSON** AND JANINE S. NArrER*** Table of Contents I. Law Review and Journal Articles ......................... 818 A . A ntitrust ............................................ 818 B. Bankruptcy .......................................... 819 C. Bibliographies ....................................... 819 D . Contracts ........................................... 819 1. M anagem ent ..................................... 821 2. Personal Service ................................
    [Show full text]
  • Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation
    Intellectual Property Brief Volume 8 Issue 2 Article 1 2016 Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation Mynda Rae Krato George Washington University Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Krato, Mynda Rae (2016) "Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation," Intellectual Property Brief: Vol. 8 : Iss. 2 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 FICTITIOUS FLATTERY: FAIR USE, FANFICTION, AND THE BUSINESS OF IMITATION Mynda Rae Krato INTRODUCTION ............. 92 L Background............................................................. 94 A. Foundational Statutory and Case Law..................................94 B. Fanfiction Case Law..............................................96 C. Popular Culture and the Power of Fandoms .............................
    [Show full text]
  • Alternate Universe Fan Videos and the Reinterpretation of the Media
    Alternate Universe Fan Videos and the Reinterpretation of the Media Source Introduction According to the Francesca Coppa, American scholar and co-founder of the Organization for Transformative Works1, fan videos are “a form of grassroots filmmaking in which clips from television shows and movies are set to music.”2 Fan videos are commonly referred to as: fanvid, songvid, vid, AMV (for Anime Music Video); their process of creation is called vidding and their editors (fan)vidders. While the “media tradition” described above in Francesca Coppa‟s definition is a crucial part of the fan video production, many other fan videos are created for anime, especially Asian ones (AMV), for video games (some of them called Machinima), or even for other subjects, from band tributes to other types of remix. The vidding tradition – in its current “shape” – goes back to the era of the first VCR; but the very first fan videos may be traced back to the seventies in a slideshow format. When channel mixers and numerous machines available to a large group of consumers emerged, this fan activity easily became an expanding one amongst the fan communities, who were often interested in new technology, whatever era it is. Vidding has now become a digital process, thanks to the expansion of computer and related technical means, including at least semiprofessional editing software. It seems relevant to point out how rare it is that a vidder goes through editing training when they begin to create fan videos, or even become a professional editor later on. Of course, exceptions exist, but vidding generally remains a hobby.
    [Show full text]
  • Technical Skills
    Natalie Grace Roman Los Angeles, CA [email protected] portfolio: natalieroman.com Previous Employment: Technical Skills: Studio71 LP - Beverly Hills, CA • Vector and Raster Design/Brand Identity Feb 2015 - May 2020 • Motion Graphics and Visual Effects • Video Post-Production Designer • Basic 3D Printing and Rapid Prototyping Design Team Maintaining Studio71 outward facing brand, visually branding • Laser Cutting/Engraving top-tier YouTube/web talent, motion graphics, show development. • 3D Modeling and Animation • Costume/Prop Fabrication Scripted Development For Ellation/Crunchyroll/VRV as show buyer Software Skills: Initial pitch deck, pilot draft, and worldbuilding groundwork for unannounced animation project in collaboration with Crunchyroll. Collective Digital Studio - Beverly Hills, CA 2015 Spring Intern • Adobe Certified in Illustrator CC Network Development Team • Adobe Certified in Photoshop CC Jan 2015 - Hire, Feb 2015 • Adobe Certified in Premiere CC • Adobe Certified After Effects Ball State University - Muncie, IN Web Developer, Multimedia Content Producer • Proficiency in Adobe Indesign CC Office of Recreation Services • Proficiency in AutoDesk Fusion 360 September 2013 - December 2014 Education: Visual Effects Artist The Digital Corps Ball State University - Muncie, IN August 2012 - May 2013 Bachelor of Arts in Telecommunications Focus in Digital Production, Emerging Media, May 2015 Projects: Studio71, LP Corridor Digital Mr. Mom | Vudu - 2019 Warframe Prop Commission Served as sole VFX Artist on reboot of “Mr. Mom,” building sign Over the period of two months, constructed replicas of hero and screen replacements, and painting out production errors. props from ‘Warframe’ by Digital Extremes using 3D Printing and Arduino microcontrollers. Fetch Me A Date/I Want My Stuff Back | Facebook - 2019 Built motion graphic elements for unscripted Facebook Watch Dude Perfect / Mobcrush formats built around dating/relationships.
    [Show full text]
  • The Love That Refuses to Speak Its Name : Examining Queerbaiting and Fan-Producer Interactions in Fan Cultures
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2015 The love that refuses to speak its name : examining queerbaiting and fan-producer interactions in fan cultures. Cassandra M. Collier, University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Collier,, Cassandra M., "The love that refuses to speak its name : examining queerbaiting and fan-producer interactions in fan cultures." (2015). Electronic Theses and Dissertations. Paper 2204. https://doi.org/10.18297/etd/2204 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE LOVE THAT REFUSES TO SPEAK ITS NAME: EXAMINING QUEERBAITING AND FAN-PRODUCER INTERACTIONS IN FAN CULTURES By Cassandra M Collier B.A., Bowling Green State University, 2012 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Women’s and Gender Studies Department of Women’s and Gender Studies University of Louisville Louisville, Kentucky August 2015 THE LOVE THAT REFUSES TO SPEAK ITS NAME: EXAMINING QUEERBAITING AND FAN-PRODUCER INTERACTIONS IN FAN CULTURES By Cassandra M Collier B.A., Bowling Green State University, 2012 A Thesis Approved on May 27, 2015 by the following Thesis Committee: ____________________________________________________ Dr, Dawn Heinecken ____________________________________________________ Dr, Diane Pecknold ____________________________________________________ Dr.
    [Show full text]