The power of animation
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Professor Peter Brooks discusses the power of animation with Hussian College students. Using his background in film he compares animation to film and determines that animation is the most powerful of the two.
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Audience theory examines how audiences are constructed and how they interpret films. An audience's interpretation is influenced by factors like their social class, education, and cultural background. David Morley studied how different socioeconomic groups interpreted the BBC program "Nationwide" and found they had dominant, negotiated, or oppositional readings based on their social positions. Christian Metz argued that film satisfies three Freudian desires - for the ego, to desire, and for an object - which distinguishes it from other art forms. Understanding audience composition and interpretation is important for targeting a film to the appropriate demographic.
Best Practices Conference 2013
I was asked to present on creavitiy for this group of tech doc professionals. The video clips probably don't work in this upload.
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This document provides an overview of a film analysis session on Stanley Kubrick's A Clockwork Orange. It discusses various micro-elements of film construction that can be used to elicit emotional responses from audiences, such as camerawork, character alignment, narrative, sound, mise-en-scene, and editing. Students are tasked with watching clips to analyze how these elements are used and link it to film theories. Several relevant film theories are then outlined, such as the hypodermic needle model, uses and gratifications, and the impression of reality. Students are divided into groups to discuss how A Clockwork Orange manipulates audience emotion based on these theories.
Audience
This document discusses audience theory and research on audience composition and interpretation of media. It summarizes David Morley's study which found that social position influences how audiences make sense of TV programs, through dominant, negotiated, or oppositional readings. The document also outlines Christian Metz's work on how cinema satisfies desires for the ego, desire itself, and fetishism. It proposes that the target audience for a short film would be social groups A and B due to their appreciation for film festival styles.
Research
The document discusses research the author plans to do for their short film project. They will analyze existing short films with similar themes to understand what works and doesn't work. They will also research film theory, including how cinematography, color, camerawork and editing can influence the film and engage audiences. The author wants to ensure every aspect of the film has meaning and has been thought through. They will research how colors link to emotions and how camerawork conveys emotions. They will also research their target audience and why they are targeting that demographic.
Research
The document discusses research the author plans to do for their short film project. They will analyze existing short films with similar themes to understand what works and doesn't work. They will also research film theory, including how cinematography, color, camerawork and editing can influence the film and engage audiences. The author wants to ensure every aspect of the film has meaning and has been thought through. They will research how colors link to emotions and how camerawork conveys emotions. They will also research their target audience and why they are targeting that demographic.
Interdisciplinarycourses.2012 hawaii
Pajka, Sharon, and Jane Nickerson. "Engaging Students with Videos in Integrated Learning Classes." The HUIC Arts and Humanities Conference. January 8, 2012. Ed. Derek Leong. Honolulu Hawaii: Hawaii University International Conferences, 2012. Print.
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The document discusses various technical aspects of TV dramas, including definitions, conventions, and analysis. It begins by asking the reader to define a TV drama with a partner and then discusses textual analysis and representation through techniques like camera shots, camera angles, editing, sound, and mise-en-scene. It also covers exam structure, key representation areas, genres of TV drama, and macro and micro elements of film language.
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Expanding Our Definition of Literacy: Using Images and Film as Mentor Texts
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Date: May 29, 2024
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The power of animation
- 1. The Power of Animation Peter Brooks
- 2. Who is this guy and what is he doing here? • B.F.A McDaniel College, Communications/Systems Analysis • M.F.A. New York University, Film/TV Production • Professor Coppin State University – Program Director, Media Arts • Experience on political campaigns & large scale events – NAACP, Save Darfur Coalition, Mayor of the District of Columbia • Campus Administrator – Brightwood College, campus of the year among 70+ Brightwood campus’
- 3. Power of Animation • When talking about illustration, photography, publication and even sculpting as art forms – 2D or 3D. • Animation and film add a fourth dimension – motion and a 5th dimension sound. • Throughout the lecture I am going to be talking about the ontology of things going from origin to future making that link. • Art is emotion – 2009 article “Brain and Cognition” proved that viewing art stimulates emotional centers of the brain, same could be said for music, etc
- 4. What is Animation? • Illusion of motion – key frame animation • Illusion of change • Created by a rapid display of a series of images When most people think of animation, they think of children.
- 5. Why is Animation associated with children? • Suspension of belief • Excitement of possibilities • Helps blunt reality • Dreamy like quality • Exaggeration
- 6. Animation starts with illustration • illustration in motion Cinema starts with photography • photography in motion Is animation to illustration what cinema is to photography?
- 7. Which is more powerful? • Animation vs. Cinema Cheaper More flexibility in length Greater latitude of creativity More psychological Authenticity Highly scientific and repeatable Serious Television as off-spring
- 8. Kuleshov effect • Foundational theory of film editing (1910?)
- 9. Heider and Simmel • Foundational theory of animation (1944)
- 10. Heider and Simmel • Created a whole new theory of psychology – attribution theory • Cognitive dissonance • Points to human impulse make things real, look for patterns, meaning and authenticity.
- 11. Andrei Tarkovsky • Greatest filmmaker who ever lived, most artistic, poetic and successful • 7 films – almost all of them in different languages • "Tarkovsky for me is the greatest (director), the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream."
- 14. Animation is more powerful than film • But is less mature • Less nuance, authenticity, emotional complexity • Has a larger engine to emotion/psychology • Trigger to subconscious suspend belief and “fill in the gaps” • Animation can go to cinema easier than cinema to animation • Less expensive, more imaginative, less bandwidth
- 15. What the heck is UI/UX? • Future of animation • User Interface, User Design • Is the process of enhancing user satisfaction with a product by improving the usability, accessibility, and pleasure provided in the interaction with the product.
- 16. What the heck is UI/UX?
- 17. What the heck is UI/UX? • https://www.sprinklr.com/ • https://stripe.com/ • http://because-recollection.com/