Jean Baudrillard argues that Disneyland presents an imaginary world to make the real world seem real, while Los Angeles belongs to a "hyperreal" order of simulation where representations have replaced reality. In simulation games, the dynamics are driven by algorithms rather than human behavior, constituting a new kind of productive reality or "gameworld". Unlike narratives with characters and plots, simulation games tell the story of how maps and spatial relationships change over time, making the territory itself the primary narrative agent.
Baz Luhrmann is known as an auteur director who expresses his unique artistic vision through the films he directs and produces. The document analyzes Luhrmann's work in Romeo + Juliet, The Great Gatsby, and Moulin Rouge. For each film, Luhrmann uses stylistic techniques like music, camerawork, colors and text to set the atmosphere and provide subtle clues about the story and themes. For example, in Romeo + Juliet he uses a broken ring image and the words "star crossed lovers" to foreshadow the love and violence in the story. In The Great Gatsby, he contrasts shots of gold and fading green light with snow to represent
Cartoons have evolved significantly over time. In the past, cartoons were static illustrations found in books. They later transitioned to television and incorporated movement and sound. Nowadays, cartoons utilize advanced special effects and three-dimensional animation. Popular 3D cartoons like Shrek feature effects like character transformations and realistic sound. Cartoons have also expanded into video games, allowing viewers to interactively play the roles of characters from movies. The internet now further enables access to cartoons through streaming and online games.
The document discusses how animated movies can influence children's creativity and shape how they view the world by exposing them to familiar characters who teach good lessons. It provides quotes from Walt Disney and Don Bluth about the benefits of animation. The document also includes survey results showing that most respondents prefer animation over reality and Disney films as their favorite type of animation.
Animation is the rapid display of a sequence of images to create the illusion of movement. Early animation devices included the zoetrope and praxinoscope. In the 1900s, some of the first animated films were created, including "Humorous Phases of Funny Faces" in 1906. Traditional animation involves drawing each frame by hand, while 3D animation uses computer-generated objects that can be rotated and moved in a three-dimensional space. Common animation techniques include traditional, 2D, 3D, motion graphics, and stop motion animation. Popular software used for animation includes Adobe Photoshop, 3Ds Max, Maya, and Cinema 4D.
This presentation provides an overview of different animation techniques throughout history. It discusses early examples from cave paintings depicting motion. Traditional or hand-drawn animation involved drawing sequential images on paper and shooting them individually to create the illusion of movement. Modern techniques include limited animation using fewer drawings, rotoscoping which traces live footage, stop motion using manipulated objects, and both 2D and 3D computer animation using digital tools.
This document analyzes the trailer for the horror movie "Chernobyl Diaries" in several sections. It summarizes the storyline established at the beginning of the trailer through text overlays on clips. It describes the visual style and color scheme of title cards used throughout the trailer. The document also analyzes camera shots, angles, lighting, settings and character interactions shown in the trailer that help set up the plot and establish locations the characters visit before heading to Chernobyl. Dialogue reveals they are going to Chernobyl for "extreme tourism."
Introduction to Animation
Introduction to Animation SLIDE # 01 of BILAL TEACH
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LECTURE # 1 = https://youtu.be/nMo32R_tSYw?list=PL5d_j41S1-UuiJDnW_3I4vwXEiGhW_bWd
Jean Baudrillard argues that Disneyland presents an imaginary world to make the real world seem real, while Los Angeles belongs to a "hyperreal" order of simulation where representations have replaced reality. In simulation games, the dynamics are driven by algorithms rather than human behavior, constituting a new kind of productive reality or "gameworld". Unlike narratives with characters and plots, simulation games tell the story of how maps and spatial relationships change over time, making the territory itself the primary narrative agent.
Baz Luhrmann is known as an auteur director who expresses his unique artistic vision through the films he directs and produces. The document analyzes Luhrmann's work in Romeo + Juliet, The Great Gatsby, and Moulin Rouge. For each film, Luhrmann uses stylistic techniques like music, camerawork, colors and text to set the atmosphere and provide subtle clues about the story and themes. For example, in Romeo + Juliet he uses a broken ring image and the words "star crossed lovers" to foreshadow the love and violence in the story. In The Great Gatsby, he contrasts shots of gold and fading green light with snow to represent
Cartoons have evolved significantly over time. In the past, cartoons were static illustrations found in books. They later transitioned to television and incorporated movement and sound. Nowadays, cartoons utilize advanced special effects and three-dimensional animation. Popular 3D cartoons like Shrek feature effects like character transformations and realistic sound. Cartoons have also expanded into video games, allowing viewers to interactively play the roles of characters from movies. The internet now further enables access to cartoons through streaming and online games.
The document discusses how animated movies can influence children's creativity and shape how they view the world by exposing them to familiar characters who teach good lessons. It provides quotes from Walt Disney and Don Bluth about the benefits of animation. The document also includes survey results showing that most respondents prefer animation over reality and Disney films as their favorite type of animation.
Animation is the rapid display of a sequence of images to create the illusion of movement. Early animation devices included the zoetrope and praxinoscope. In the 1900s, some of the first animated films were created, including "Humorous Phases of Funny Faces" in 1906. Traditional animation involves drawing each frame by hand, while 3D animation uses computer-generated objects that can be rotated and moved in a three-dimensional space. Common animation techniques include traditional, 2D, 3D, motion graphics, and stop motion animation. Popular software used for animation includes Adobe Photoshop, 3Ds Max, Maya, and Cinema 4D.
This presentation provides an overview of different animation techniques throughout history. It discusses early examples from cave paintings depicting motion. Traditional or hand-drawn animation involved drawing sequential images on paper and shooting them individually to create the illusion of movement. Modern techniques include limited animation using fewer drawings, rotoscoping which traces live footage, stop motion using manipulated objects, and both 2D and 3D computer animation using digital tools.
This document analyzes the trailer for the horror movie "Chernobyl Diaries" in several sections. It summarizes the storyline established at the beginning of the trailer through text overlays on clips. It describes the visual style and color scheme of title cards used throughout the trailer. The document also analyzes camera shots, angles, lighting, settings and character interactions shown in the trailer that help set up the plot and establish locations the characters visit before heading to Chernobyl. Dialogue reveals they are going to Chernobyl for "extreme tourism."
Introduction to Animation
Introduction to Animation SLIDE # 01 of BILAL TEACH
If you want FREE Educational Videos Subscribe Our Channel. Here we will post FREE Educational, knowledge based video for everyone.
Stay tuned for FREE Educational Videos
LECTURE # 1 = https://youtu.be/nMo32R_tSYw?list=PL5d_j41S1-UuiJDnW_3I4vwXEiGhW_bWd
The document provides an analysis of a film trailer through various shots and elements. It notes that the trailer begins with an establishing logo and seems to focus on the use of photography. Various shots are examined in detail, highlighting costumes, lighting, characters, and sounds that build tension and mystery around the idea of "Another Me." Elements like graffiti, shadows, and voiceovers are discussed as adding layers of meaning around a character that is hard to grasp but continually present.
This document discusses the history and major companies of animated films. It begins with definitions of animated films and reasons for choosing the topic. It then discusses the history from early flip books to modern animation. Major animation companies discussed include Walt Disney, DreamWorks, Pixar, Studio Ghibli, and French studio Je Suis Bien Content. Websites are provided as sources to learn more about the history and companies.
Animation is created through rapidly displaying a sequence of images to create the illusion of movement. The history of animation includes early devices from the 1800s like the phenakistoscope and praxinoscope. Traditional animation begins with storyboards and involves animators drawing sequences of images on sheets of paper called cels, which are layered and photographed to create the animation frame by frame. Stop motion animation makes physically manipulated objects appear to move on their own. Different forms of animation include stop motion using models or clay, and computer animation created with software.
The black background and red title of the movie poster for The Purge indicate that the film takes place at night and features violent and bloody moments. Rain in the background and the tagline "the nightmare is real" suggest the story depicts a miserable time when random killings occur and people must endure difficult circumstances. A toothless clown's awkward smile further hints that evil may triumph in the end.
Both L.A. Noire and L.A. Confidential use similar mise-en-scene elements to establish the film noir genre, including dark colors, scenes set at night, and femme fatale characters portrayed through costume and acting. Both films also use composition and close-up shots to make characters seem powerful and dominate the screen. While the narratives introduce Los Angeles in a similar bright manner, they then juxtapose this with darker elements to subvert expectations and establish the true noir tone of the stories.
This document discusses different animation techniques including hand-drawn animation, stop-motion animation, and computer animation. In hand-drawn animation, each frame is drawn by hand while stop-motion animation involves physically manipulating objects and photographing each frame. Computer animation is created digitally on a computer. Specific stop-motion techniques mentioned include claymation, cutout animation, and object animation. The traditional animation process includes concept, storyboarding, voice recording, drawings, ink and paint, backgrounds, and photography.
The document discusses and provides examples of different animation techniques including traditional hand drawn animation, stop motion animation using cutouts, clay, and other materials, computer animation, sand animation, and drawn on film animation. Traditional hand drawn animation involves individually drawing each frame, while stop motion animation involves physically manipulating objects frame by frame. Computer animation uses digital techniques, and drawn on film animation creates images directly onto film. Claymation and sand animation are types of stop motion that involve sculpting clay or manipulating sand to create animated sequences.
The document discusses how the media product challenges or develops conventions from real media. It analyzes conventions in areas like titling, camera movement, framing of shots, camera angles, mise-en-scene, editing, sound, and actor positioning/movements. For the media product, it uses conventions like ominous red titling, medium close-ups to show emotion, and diegetic/non-diegetic sound mixtures. However, it challenges conventions by keeping the camera stationary, not using high/low angles to imply superiority, and letting the audience decide characters' superiority.
The document discusses how the media product challenges or develops conventions from real media. It analyzes conventions in areas like titling, camera movement, framing of shots, camera angles, mise-en-scene, editing, sound, and actor positioning/movements. For the media product, it uses conventions like ominous red titling, medium close-ups to convey emotion, and a mix of diegetic and non-diegetic sound. However, it challenges conventions by keeping the camera stationary, not using high/low angles, and focusing on character isolation over fast pacing.
The red color in the logo signifies danger and blood, common themes in thriller films, while the black edges symbolize power and mystery. The clouds hide what lies beyond, creating a sense of entering the unknown and danger. The red lightens in the center, suggesting that even in dark times, a small hope remains, as protagonists often find hope in difficult thriller plots. The cartoon-style, silver font stands out and reflects the animation genre associated with Disney.
The document discusses the history and development of modernism in film from 1895 to the 1920s. It covers key events like the first public film screening by the Lumière brothers in 1895. The impact of WWI led American films to dominate European markets. In the 1920s, Europe developed a new self-conscious film culture influenced by modernist art. Writers like Ricciotto Canudo and Virginia Woolf explored whether film was a new seventh art form and how the medium might influence thought, emotion, and subjectivity. Filmmakers like Dziga Vertov and Len Lye experimented with techniques like montage and editing to develop a cinematic language.
This document defines and describes different types of animation. It explains that animation brings images to life by displaying a sequence of static images rapidly to create the illusion of continuous movement. The three basic types are traditional animation which uses hand-drawn images, stop animation which manipulates real-world objects frame by frame, and computer animation which can be 2D or 3D. 2D computer animation uses techniques like PowerPoint or Flash while 3D animation is used for films, simulations, and complex or unusual scenes. Computer animation is commonly used in films, video games, simulations, and architectural models.
The document provides an analysis of the opening scene of the 2011 film Drive. It summarizes that the first scene takes place in the driver's sparse apartment, which helps establish his empty life while also showing he is planning something through an annotated map. The scene then shifts to the garage, signifying the importance of driving. Visual cues like the white leather jacket worn by the protagonist and blue worn by Bryan Cranston are used to symbolize innocence and a sad character. The opening credits are in pink to evoke the 1980s aesthetic. The lack of non-diegetic sound and minimal dialogue maintains a sense of mystery around the unnamed driver character.
This document provides an overview of animation in Hollywood, including its history and different techniques. It discusses early animation inventions from the 19th century and the first animated films in the early 20th century. Traditional cel animation involved drawing characters on paper and transferring them to transparent sheets. Computer animation now uses 2D and 3D techniques, with 3D animation creating highly realistic visual effects through modeling, rigging, and motion capture. Major animation software like Maya and ZBrush are used in Hollywood. The animation industry has grown significantly with advances in technology and expanded entertainment options.
Top Downloaded Articles in Computer and Animation - March 2021ijcga
Computer graphics and animation has become a key technology in determining future research and development activities in many academic and industrial branches. The aim of this journal is to be an international peer-reviewed open access forum for scientific and technical presentations and discus the latest advances in Computer graphics and animation.
The document is a collection of 100 examples related to storytelling, narrative, and the use of narrative in interaction design, art, and other contexts. Some of the examples include "touched echo", an installation that transmits sounds of bombings through vibrations in a railing; "88 Constellations for Wittgenstein", an interactive artwork connecting the life and work of Wittgenstein to constellations; and events like "Chaos Thaoghaire" that feature storytelling and games based around a theme. The examples cover a wide range of storytelling methods, from installations and websites to games, graffiti projects, and more.
Jeremy Cramer wants to create animated characters and motion graphics that capture emotion and subtle movement. He aims to craft unique characters that audiences can become immersed in and that stand out over time. Through attention to pacing and contrast between action and calm sequences, he hopes to take viewers on a visually engaging journey and leave them with a lasting impression of the world he creates with motion.
Here are the key parts of the story I identified from the sketches:
1. Parallel lines - Represents the two main characters living parallel lives without intersecting.
2. Intersecting lines - Represents the moment when the two characters meet for the first time.
3. Overlapping circles - Represents the characters getting to know each other and their lives overlapping or intersecting more.
4. Separate lines moving away from each other - Represents the characters separating or going their separate ways again.
5. Lines moving towards each other - Represents the characters looking for each other again or their paths converging once more.
6. Intersecting lines meeting - Represents the characters meeting again as their lives intersect
Voice as a game modification in Machinima - ISEA 2011 IstanbulIsabelle Arvers
ISEA 2011 Istanbul panelist : Voicing electronic arts
Chair Person : Norie Neumark Presenters : Nermin Saybasili, Igor Stromajer, Isabelle Arvers
Location : Sabanci Center Room 1, Sabanci Center, Levent
There is an uncanny quality to voice in electronic arts, viscerally carrying bodily intimacies to the listener through physical spaces, yet dislocated from the speaker’s body through reproduction and transmission. The digital voice is paradoxically human and machinic – intimate and intense, as it connects subjectivities on the one hand and the digitally abstract on the other hand, as it passes through machines on to the other. Whether voices call to us across the internet, or across the smaller space of an installation, or from the small screen of machinima, media artists have found this paradoxical and uncanny quality alluring and have worked with it across a range of media and emotional ranges. While voice is often discussed in a political and metaphorical sense (giving people a voice through media) the aim of this panel is to address the aesthetics of voice in media art.
Machinima as a Political or Artistic Detournement of Video Games by Isabelle Arvers
This paper presents Machinima as a political or artistic detournement of video games. By using virtual spaces and changing perspective as an artistic strategy, machinima allow a distanced critique of a simulated world. They tend to erase the boundaries between reality and fiction and redefine the transgressive power of the game. As Guy Debord states in The Society of the Spectacle, “There, where the real world is changing into simple images, simple images become real human beings and efficient motivations for an hypnotic behavior.” Machinima re-actualize the Situationist conception of cinema in which voices in dialogs, or interviews, or voice over and images, act as different layers of content. In the purest hacking tradition, machinima can be perceived as a « detournement » or a diversion of mass media to become a means of expression, political or artistic…
Machinima represents the particular moment when gamers begin to produce content and where games become tools of expression. These movies are mostly narrative, but they can also be experimental, artistic, or related to music, documentaries, ads, and feature films. They can be seen as a new way of representation in the digital age, along with 3D animation, digital cinema, or video. Machinima has a huge potential because it uses mass consumption objects that are games, to help people self-express. A recent French study showed that 99.8 % of teenagers play video games daily. Therefore, it can be said that games surround our everyday life. This is the reason why it is meaningful to diffuse a cinematographic genre using games and open source tools, to make movies and artworks, enabling and amplifying other ways for people to express themselves.
Essay on Cinemas Role in Society
Essay Cinema of Attraction
The Evolution of Film Essay example
Reflection Of Cinema
Essay on Cinema and the Digital Age
Cinema And Cinema
Essay about Cinema and Religion
Cinema Paradiso
Reflective Essay On Cinema
Cinema Paradiso Essay
The group decided to film the opening of a musical mockumentary in the style of "This Is Spinal Tap". They incorporated conventions of the mockumentary genre like documenting fictional past events. They mirrored the cinema verite style of having constant interaction between filmmaker and subject. Shots were filmed in an observational style to seem objective but the artificial characters blurred reality and fantasy. The quick cutting and manipulation of mise-en-scene exhibited different meanings and foreshadowed the plot. Non sequiturs and postmodern techniques like breaking character were used to parody the documentary form and reestablish it as satirical comedy.
The document provides an analysis of a film trailer through various shots and elements. It notes that the trailer begins with an establishing logo and seems to focus on the use of photography. Various shots are examined in detail, highlighting costumes, lighting, characters, and sounds that build tension and mystery around the idea of "Another Me." Elements like graffiti, shadows, and voiceovers are discussed as adding layers of meaning around a character that is hard to grasp but continually present.
This document discusses the history and major companies of animated films. It begins with definitions of animated films and reasons for choosing the topic. It then discusses the history from early flip books to modern animation. Major animation companies discussed include Walt Disney, DreamWorks, Pixar, Studio Ghibli, and French studio Je Suis Bien Content. Websites are provided as sources to learn more about the history and companies.
Animation is created through rapidly displaying a sequence of images to create the illusion of movement. The history of animation includes early devices from the 1800s like the phenakistoscope and praxinoscope. Traditional animation begins with storyboards and involves animators drawing sequences of images on sheets of paper called cels, which are layered and photographed to create the animation frame by frame. Stop motion animation makes physically manipulated objects appear to move on their own. Different forms of animation include stop motion using models or clay, and computer animation created with software.
The black background and red title of the movie poster for The Purge indicate that the film takes place at night and features violent and bloody moments. Rain in the background and the tagline "the nightmare is real" suggest the story depicts a miserable time when random killings occur and people must endure difficult circumstances. A toothless clown's awkward smile further hints that evil may triumph in the end.
Both L.A. Noire and L.A. Confidential use similar mise-en-scene elements to establish the film noir genre, including dark colors, scenes set at night, and femme fatale characters portrayed through costume and acting. Both films also use composition and close-up shots to make characters seem powerful and dominate the screen. While the narratives introduce Los Angeles in a similar bright manner, they then juxtapose this with darker elements to subvert expectations and establish the true noir tone of the stories.
This document discusses different animation techniques including hand-drawn animation, stop-motion animation, and computer animation. In hand-drawn animation, each frame is drawn by hand while stop-motion animation involves physically manipulating objects and photographing each frame. Computer animation is created digitally on a computer. Specific stop-motion techniques mentioned include claymation, cutout animation, and object animation. The traditional animation process includes concept, storyboarding, voice recording, drawings, ink and paint, backgrounds, and photography.
The document discusses and provides examples of different animation techniques including traditional hand drawn animation, stop motion animation using cutouts, clay, and other materials, computer animation, sand animation, and drawn on film animation. Traditional hand drawn animation involves individually drawing each frame, while stop motion animation involves physically manipulating objects frame by frame. Computer animation uses digital techniques, and drawn on film animation creates images directly onto film. Claymation and sand animation are types of stop motion that involve sculpting clay or manipulating sand to create animated sequences.
The document discusses how the media product challenges or develops conventions from real media. It analyzes conventions in areas like titling, camera movement, framing of shots, camera angles, mise-en-scene, editing, sound, and actor positioning/movements. For the media product, it uses conventions like ominous red titling, medium close-ups to show emotion, and diegetic/non-diegetic sound mixtures. However, it challenges conventions by keeping the camera stationary, not using high/low angles to imply superiority, and letting the audience decide characters' superiority.
The document discusses how the media product challenges or develops conventions from real media. It analyzes conventions in areas like titling, camera movement, framing of shots, camera angles, mise-en-scene, editing, sound, and actor positioning/movements. For the media product, it uses conventions like ominous red titling, medium close-ups to convey emotion, and a mix of diegetic and non-diegetic sound. However, it challenges conventions by keeping the camera stationary, not using high/low angles, and focusing on character isolation over fast pacing.
The red color in the logo signifies danger and blood, common themes in thriller films, while the black edges symbolize power and mystery. The clouds hide what lies beyond, creating a sense of entering the unknown and danger. The red lightens in the center, suggesting that even in dark times, a small hope remains, as protagonists often find hope in difficult thriller plots. The cartoon-style, silver font stands out and reflects the animation genre associated with Disney.
The document discusses the history and development of modernism in film from 1895 to the 1920s. It covers key events like the first public film screening by the Lumière brothers in 1895. The impact of WWI led American films to dominate European markets. In the 1920s, Europe developed a new self-conscious film culture influenced by modernist art. Writers like Ricciotto Canudo and Virginia Woolf explored whether film was a new seventh art form and how the medium might influence thought, emotion, and subjectivity. Filmmakers like Dziga Vertov and Len Lye experimented with techniques like montage and editing to develop a cinematic language.
This document defines and describes different types of animation. It explains that animation brings images to life by displaying a sequence of static images rapidly to create the illusion of continuous movement. The three basic types are traditional animation which uses hand-drawn images, stop animation which manipulates real-world objects frame by frame, and computer animation which can be 2D or 3D. 2D computer animation uses techniques like PowerPoint or Flash while 3D animation is used for films, simulations, and complex or unusual scenes. Computer animation is commonly used in films, video games, simulations, and architectural models.
The document provides an analysis of the opening scene of the 2011 film Drive. It summarizes that the first scene takes place in the driver's sparse apartment, which helps establish his empty life while also showing he is planning something through an annotated map. The scene then shifts to the garage, signifying the importance of driving. Visual cues like the white leather jacket worn by the protagonist and blue worn by Bryan Cranston are used to symbolize innocence and a sad character. The opening credits are in pink to evoke the 1980s aesthetic. The lack of non-diegetic sound and minimal dialogue maintains a sense of mystery around the unnamed driver character.
This document provides an overview of animation in Hollywood, including its history and different techniques. It discusses early animation inventions from the 19th century and the first animated films in the early 20th century. Traditional cel animation involved drawing characters on paper and transferring them to transparent sheets. Computer animation now uses 2D and 3D techniques, with 3D animation creating highly realistic visual effects through modeling, rigging, and motion capture. Major animation software like Maya and ZBrush are used in Hollywood. The animation industry has grown significantly with advances in technology and expanded entertainment options.
Top Downloaded Articles in Computer and Animation - March 2021ijcga
Computer graphics and animation has become a key technology in determining future research and development activities in many academic and industrial branches. The aim of this journal is to be an international peer-reviewed open access forum for scientific and technical presentations and discus the latest advances in Computer graphics and animation.
The document is a collection of 100 examples related to storytelling, narrative, and the use of narrative in interaction design, art, and other contexts. Some of the examples include "touched echo", an installation that transmits sounds of bombings through vibrations in a railing; "88 Constellations for Wittgenstein", an interactive artwork connecting the life and work of Wittgenstein to constellations; and events like "Chaos Thaoghaire" that feature storytelling and games based around a theme. The examples cover a wide range of storytelling methods, from installations and websites to games, graffiti projects, and more.
Jeremy Cramer wants to create animated characters and motion graphics that capture emotion and subtle movement. He aims to craft unique characters that audiences can become immersed in and that stand out over time. Through attention to pacing and contrast between action and calm sequences, he hopes to take viewers on a visually engaging journey and leave them with a lasting impression of the world he creates with motion.
Here are the key parts of the story I identified from the sketches:
1. Parallel lines - Represents the two main characters living parallel lives without intersecting.
2. Intersecting lines - Represents the moment when the two characters meet for the first time.
3. Overlapping circles - Represents the characters getting to know each other and their lives overlapping or intersecting more.
4. Separate lines moving away from each other - Represents the characters separating or going their separate ways again.
5. Lines moving towards each other - Represents the characters looking for each other again or their paths converging once more.
6. Intersecting lines meeting - Represents the characters meeting again as their lives intersect
Voice as a game modification in Machinima - ISEA 2011 IstanbulIsabelle Arvers
ISEA 2011 Istanbul panelist : Voicing electronic arts
Chair Person : Norie Neumark Presenters : Nermin Saybasili, Igor Stromajer, Isabelle Arvers
Location : Sabanci Center Room 1, Sabanci Center, Levent
There is an uncanny quality to voice in electronic arts, viscerally carrying bodily intimacies to the listener through physical spaces, yet dislocated from the speaker’s body through reproduction and transmission. The digital voice is paradoxically human and machinic – intimate and intense, as it connects subjectivities on the one hand and the digitally abstract on the other hand, as it passes through machines on to the other. Whether voices call to us across the internet, or across the smaller space of an installation, or from the small screen of machinima, media artists have found this paradoxical and uncanny quality alluring and have worked with it across a range of media and emotional ranges. While voice is often discussed in a political and metaphorical sense (giving people a voice through media) the aim of this panel is to address the aesthetics of voice in media art.
Machinima as a Political or Artistic Detournement of Video Games by Isabelle Arvers
This paper presents Machinima as a political or artistic detournement of video games. By using virtual spaces and changing perspective as an artistic strategy, machinima allow a distanced critique of a simulated world. They tend to erase the boundaries between reality and fiction and redefine the transgressive power of the game. As Guy Debord states in The Society of the Spectacle, “There, where the real world is changing into simple images, simple images become real human beings and efficient motivations for an hypnotic behavior.” Machinima re-actualize the Situationist conception of cinema in which voices in dialogs, or interviews, or voice over and images, act as different layers of content. In the purest hacking tradition, machinima can be perceived as a « detournement » or a diversion of mass media to become a means of expression, political or artistic…
Machinima represents the particular moment when gamers begin to produce content and where games become tools of expression. These movies are mostly narrative, but they can also be experimental, artistic, or related to music, documentaries, ads, and feature films. They can be seen as a new way of representation in the digital age, along with 3D animation, digital cinema, or video. Machinima has a huge potential because it uses mass consumption objects that are games, to help people self-express. A recent French study showed that 99.8 % of teenagers play video games daily. Therefore, it can be said that games surround our everyday life. This is the reason why it is meaningful to diffuse a cinematographic genre using games and open source tools, to make movies and artworks, enabling and amplifying other ways for people to express themselves.
Essay on Cinemas Role in Society
Essay Cinema of Attraction
The Evolution of Film Essay example
Reflection Of Cinema
Essay on Cinema and the Digital Age
Cinema And Cinema
Essay about Cinema and Religion
Cinema Paradiso
Reflective Essay On Cinema
Cinema Paradiso Essay
The group decided to film the opening of a musical mockumentary in the style of "This Is Spinal Tap". They incorporated conventions of the mockumentary genre like documenting fictional past events. They mirrored the cinema verite style of having constant interaction between filmmaker and subject. Shots were filmed in an observational style to seem objective but the artificial characters blurred reality and fantasy. The quick cutting and manipulation of mise-en-scene exhibited different meanings and foreshadowed the plot. Non sequiturs and postmodern techniques like breaking character were used to parody the documentary form and reestablish it as satirical comedy.
The document discusses different styles and types of films including documentary, avant-garde, and fiction films. It provides information on documentary filmmakers Norman McLaren and Jennifer Baichwal, and analyzes some of their films including Boogie Doodle, Blinkity Blink, and Manufactured Landscapes. The document also discusses Russian constructivism and questions how documentary filmmakers can create a convincing interpretation of reality without distorting evidence.
The document provides details about the student's arts challenge to improve their skills in editing sound effects for film. They summarize meeting with experts from the BFI who provided guidance and equipment for recording sounds. They then discuss analyzing the classic film "The Third Man" to understand effective use of sound and inspiration for their group film project applying film noir conventions.
This document provides guidelines and information for a film studies final exam, including defining key film concepts and filmmakers. It discusses the difference between film criticism and reviewing, focusing criticism on analyzing specific film techniques rather than just providing an overall impression. It also outlines a systematic approach to analyzing mise-en-scene and reviews several elements of that analysis. Additionally, it covers non-fiction film styles like documentary and avant-garde, and provides information on filmmakers Norman McLaren and Jennifer Baichwal.
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AN ANALYSIS OF Quot THE SIMPSONS Quot THROUGH VISUAL INDICATORSJim Jimenez
This document provides an analysis of the animated TV show "The Simpsons" through visual indicators like character, light, and color. It analyzes the 1st, 18th, and 24th seasons. The Simpsons is presented as a typical American family consisting of Homer, Marge, Bart, Lisa, and Maggie who live in Springfield. Homer is characterized as lazy and incompetent while Marge holds the family together. Bart is a mischievous teenager while Lisa is intelligent. The document also provides background on the history and development of animation, including traditional animation, computer animation, and key figures and works that advanced the art form over centuries.
Difference Between Western And Western AnimationLindsey Jones
Western animation often used cartoons during WWII to promote war bonds and encourage citizens to pay taxes, depicting these acts as patriotic duties. The Disney style was influential in Soviet animation as well. Modern animation uses computer graphics to create highly detailed and realistic 3D worlds and characters. Effective animation requires skills in modeling, lighting, simulations and more.
Simon McBurney discusses his approach to directing, stating that he sees no clear starting point or origin for a theatrical piece. He views the words on the page as not yet being theatre, and finds that ideas he had originally disappear once work begins. McBurney believes the work itself is the beginning, and that a piece grows naturally through collaboration and preparation rather than being strictly planned or imposed from the outside. This natural growth allows for uncertainty and development over time.
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Elevate Your Nonprofit's Online Presence_ A Guide to Effective SEO Strategies...TechSoup
Whether you're new to SEO or looking to refine your existing strategies, this webinar will provide you with actionable insights and practical tips to elevate your nonprofit's online presence.
How to Manage Reception Report in Odoo 17Celine George
A business may deal with both sales and purchases occasionally. They buy things from vendors and then sell them to their customers. Such dealings can be confusing at times. Because multiple clients may inquire about the same product at the same time, after purchasing those products, customers must be assigned to them. Odoo has a tool called Reception Report that can be used to complete this assignment. By enabling this, a reception report comes automatically after confirming a receipt, from which we can assign products to orders.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
Information and Communication Technology in EducationMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 2)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐈𝐂𝐓 𝐢𝐧 𝐞𝐝𝐮𝐜𝐚𝐭𝐢𝐨𝐧:
Students will be able to explain the role and impact of Information and Communication Technology (ICT) in education. They will understand how ICT tools, such as computers, the internet, and educational software, enhance learning and teaching processes. By exploring various ICT applications, students will recognize how these technologies facilitate access to information, improve communication, support collaboration, and enable personalized learning experiences.
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐫𝐞𝐥𝐢𝐚𝐛𝐥𝐞 𝐬𝐨𝐮𝐫𝐜𝐞𝐬 𝐨𝐧 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐧𝐞𝐭:
-Students will be able to discuss what constitutes reliable sources on the internet. They will learn to identify key characteristics of trustworthy information, such as credibility, accuracy, and authority. By examining different types of online sources, students will develop skills to evaluate the reliability of websites and content, ensuring they can distinguish between reputable information and misinformation.
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
2. Simon McBurney is an English actor , writer and director. He is considered to be one of the most innovative artists in theatre today. In 1983, he founded a theatre company called “Theatre de Complicité” with Annabel Arden and Marcello Magni. Their idea of theatre included the notion of collaboration rather than a specific method of acting or directing. The work aims at integrating text, music, image and action to create surprising, disruptive theatre. Complicité is referred to as a ‘state of mind’ expanding the usual expectations of a traditional theatre company. http://i.thisislondon.co.uk/i/pix/2008/05/43a_27_Simon-McBu_243x243.jpg
3. This is a scene of “The Elephant Vanishes” where a Tokyo housewife forces herself into a state of insomnia. The character was represented by four different actors moving in a constant short-cycled blur.* * http://radiomovies.wordpress.com/2009/02/
4. “ Measure for Measure” showcases Complicité’s extraordinary visual work combined with a remarkable sense of space and lighting design. We can see the use of video backdrops and how they affect the mood created on stage. http://www.mesmer.co.uk/projects/Measure_For_Measure/
5. This is the beginning of “ A Disappearing Number”. What you see is extremely deceptive. The play will gradually evolve into a mesmerising experience of stunning visual effects, of sounds and movements that elicit different emotional states from the audience. http://www.flickr.com/photos/81571058@N00/1559596941
6. A photo taken during the rehearsals of ‘’A Disappearing Number”. Simon McBurney includes everyone in a creative process that he often describes as ‘chaotic’. There seems to be a ‘spiritual element’ in the making of his plays where the boundaries of imagination and creativity are constantly stretched while at the same time providing a notion of clarity and obviousness. The actors work together in what could be called ‘an organic approach to performance.’ They explore many possibilities without inhibitions to keep the creative momentum going. http://www.complicite.org/photos/
7. In McBurney’s conception of theatre, images are created as part of a whole and not as a simple gimmick to impress audiences. We can see that Complicité uses video screens as a form of storytelling and demonstrates that everything on the stage represents theatre language. http://static.guim.co.uk/sys-images/Arts/Arts_/Pictures/2008/10/20/number460.jpg
8. All the numbers in the background seem to be floating around like millions of thoughts, supporting the actors in their desire to provide us with the most profound theatrical experience. There are so many beautiful moments in the play, which mix aesthetic perfection and swirls of emotions. This is how we see actors become one endeavouring to serve the play and create an unforgettable experience. http://www.mesmer.co.uk/projects/A_Disappearing_Number/
9. Here is another example of Complicité’s style where the actor blends into other elements such as the numbers on the screen. There is a sense of fusion, of constant relationship between people, objects and technology. feed://findingmoonshine.blogspot.com/feeds/posts/default
10. Here is another moment in “A Disappearing Number” where we see GH Hardy and Ramanujan. The video backdrop enhances the idea of a cold winter in Cambridge compared to India’s weather. It also works as a metaphor to show that Ramanujan arrives in a world so different from his own, where proof has more value than intuition. In the end, what these two men have in common is their profound love of numbers and possibilities. http://www.mesmer.co.uk/projects/A_Disappearing_Number/
11. What we see in the foreground is projected in the background. Hardy and Ramanujan work constantly to explore mathematical patterns. They are reaching out to one another through their passion which transcends all differences. At the end of his life, Hardy talked about their collaboration as "the one romantic incident in my life.” * * http://en.wikipedia.org/wiki/G._H._Hardy http://plus.maths.org/issue49/features/complicite/
12. McBurney’s sense of aesthetics is all the more apparent on this photo. He enjoys creating strong visual moments using lights and music to convey an emotion without the use of words. http://www.complicite.org/photos/
13. Theatre and cinema seem to come together in A Disappearing Number lifting the play to new heights. The poetic and lyrical direction of McBurney and the actors fantastic ability to move and work as one show that Complicité’s philosophy is closer to a state of mind than just a technical trick. The attention to detail and the commitment of every single person involved in the production intensifies the audience’s experience and redefines usual expectations of a performance. http://www.complicite.org/photos/