Relevant bibliographies by topics / Digital media and motion pictures

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Digital media and motion pictures'

Author: Grafiati
Published: 28 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Digital media and motion pictures"

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Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 55. http://dx.doi.org/10.25038/am.v0i16.254.

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In the 1960s and 1970s the Clement Greenberg’s Modernist ideology of ‘purity’ played a central role in the definition of ‘avant-garde cinema’ as a serious, major genre of film. This transfer between ‘fine art’ and ‘avant-garde film’ was articulated as ‘structural film’ by P. Adams Sitney. This heritage shapes contemporary debates over ‘postcinema’ as digital technology undermines the ontology and dispositive of historical cinema. Its discussion here is not meant to reanimate old debates, but to move past them. Article received: March 12, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies 16 (2018): 55−67. doi: 10.25038/am.v0i16.254
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Murroni, Maurizio, Cristian Perra, and Daniele D. Giusto. "Slow Motion and Zoom in HD Digital Videos Using Fractals." International Journal of Digital Multimedia Broadcasting 2009 (2009): 1–12. http://dx.doi.org/10.1155/2009/496934.

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Slow motion replay and spatial zooming are special effects used in digital video rendering. At present, most techniques to perform digital spatial zoom and slow motion are based on interpolation for both enlarging the size of the original pictures and generating additional intermediate frames. Mainly, interpolation is done either by linear or cubic spline functions or by motion estimation/compensation which both can be applied pixel by pixel, or by partitioning frames into blocks. Purpose of this paper is to present an alternative technique combining fractals theory and wavelet decomposition to achieve spatial zoom and slow motion replay of HD digital color video sequences. Fast scene change detection, active scene detection, wavelet subband analysis, and color fractal coding based on Earth Mover's Distance (EMD) measure are used to reduce computational load and to improve visual quality. Experiments show that the proposed scheme achieves better results in terms of overall visual quality compared to the state-of-the-art techniques.
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Asokan, R., and T. Vijayakumar. "Design of WhatsApp Image Folder Categorization Using CNN Method in the Android Domain." September 2021 3, no. 3 (October 16, 2021): 180–95. http://dx.doi.org/10.36548/jucct.2021.3.003.

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Recently, the use of different social media platforms such as Twitter, Facebook, and WhatsApp have increased significantly. A vast number of static images and motion frame pictures posted on such platforms get stored in the device folder making it critical to identify the social network of the downloaded images in the android domain. This is a multimedia forensic job with major cyber security consequences and is said to be accomplished using unique traces contained in picture material (SNs). Therefore, this proposal has been endeavoured to construct a new framework called FusionNet to combine two well-established single shared Convolutional Neural Networks (CNN) to accelerate the search. Moreover, the FusionNet has been found to improve classification accuracy. Image searching is one of the challenging issues in the android domain besides being a time-consuming process. The goal of the proposed network's architecture and training is to enhance the forensic information included in the digital pictures shared on social media. Furthermore, several network designs for the categorization of WhatsApp pictures have been compared and this suggested method has shown better performance in the comparison. The proposed framework's overall performance was measured using the performance metrics.
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Yulandina, Aldilla, Condra Antoni, and Ardiman Firmanda. "OPTIMALISASI UNSUR LIVE SHOOT DAN MOTION GRAPHIC UNTUK PROMOSI DIGITAL LEMBAGA PAUD." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 1, no. 1 (January 25, 2018): 1–19. http://dx.doi.org/10.30871/deca.v1i1.588.

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Presentation of information for educational institutions is one of the most important means to introduce the institutions to the public. Raudhatul Athfal (RA) Ar-Rasyid Tanjungpinang needs media that can promote and provide information about the institution, because the number of registrants is decreasing during current years. This research was conducted with the creation of the institution’s profile video that applies elements of live shoot and motion graphics to easily convey information in short duration videos, and to make the profile video look interesting. The stage of making a profile video is starting from taking pictures directly (live shoot), editing to rendering process. Based on the process of designing, implementation, testing and discussion, it can be concluded that this research has been able to produce a profile video that can be used as a promotional mean for attracting new students in 2017/2018 at RA Ar-Rasyid Tanjungpinang. The result shows that 77% of 98 applicants have been informed through video profiles distributed with Videotron.
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Bhat, Romica, and Prithu Sarkar. "Covidization of Media and Entertainment Industry: Current Times and the Future Ahead." Indonesian Journal of Social Science Research 3, no. 2 (December 31, 2022): 113–20. http://dx.doi.org/10.11594/ijssr.03.02.07.

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The paper has tried to address the modification and adaptation done by the motion pictures industry on the business model, decision-making process, and revenue model, with a case study on Walt Disney. This paper also tried to understand the digital disruptiveness probable strategies taken by media organizations to conquer the spot of market leader and gain a competitive advantage from the set of homogeneous competitors. The new normal business model that has helped Disney+ to create the core competency has given the organization a long-term benefit to make a sustainable business model. The paper further indulges on how Walt Disney’s proactive, informed, and balanced decision-making process about the sudden change in media business dynamics along with the arts and communication industry is going to be a benchmark while keeping the window of both online and offline media business with growing target audience and revenue generation. In the end, we have tried to come up with a business model for the media industry in contemporary times and the future.
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Lim, Bliss Cua. "Fragility, Perseverance, and Survival in State-Run Philippine Archives." Plaridel 15, no. 2 (December 2018): 1–40. http://dx.doi.org/10.52518/2018.15.2-01bclim.

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This article considers the consequences of the 2004 dissolution of the Philippine Information Agency’s Motion Picture Division (PIA-MPD) on three key collections entrusted to it: films from the National Media Production Center; from the Movie and Television Review and Classification Board (themselves remnants of the previous archival collapse of the Film Archives of the Philippines in 1986); and lastly, a number of films produced by LVN Pictures, a studio founded in 1938. Using approaches from cultural policy, archival theory, feminist epistemology, and postcolonial historiography, the essay draws on an array of sources—archival films, legislative records, PIA documents, oral history interviews, and personal papers from members of the Society of Filipino Archivists for Film and the South East Asia Pacific Audio Visual Archives Association. The aftermath of the PIA-MPD’s abolition underscores the drawbacks of a narrowly profit-driven perspective on state film archiving that devalued analog cinema in relation to digital media while also ignoring the unique demands of audiovisual (AV) archiving by conflating it with paper-based librarianship. This study affirms the Filipino AV archive advocacy’s repeated calls for legislation to safeguard the institutional continuity and autonomy of Philippine film archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the decline of various state-run film collections, the article concludes by conceptualizing archival survival as not only involving the material preservation of analog or digital AV carriers but as also entailing exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.
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Cutting, James E. "Representing Motion in a Static Image: Constraints and Parallels in Art, Science, and Popular Culture." Perception 31, no. 10 (October 2002): 1165–93. http://dx.doi.org/10.1068/p3318.

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Representing motion in a picture is a challenge to artists, scientists, and all other imagemakers. Moreover, it presents a problem that will not go away with electronic and digital media, because often the pedagogical purpose of the representation of motion is more important than the motion itself. All satisfactory solutions evoke motion—for example, dynamic balance (or broken symmetry), stroboscopic sequences, affine shear (or forward lean), and photographic blur—but they also typically sacrifice the accuracy of the motion represented, a solution often unsuitable for science. Vector representations superimposed on static images allow for accuracy, but are not applicable to all situations. Workable solutions are almost certainly case specific and subject to continual evolution through exploration by imagemakers.
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Yetimova, Serhat, and Abdrasul İsakov. "An Analysis of the Kurmanjan Datka Movie in the Context of Historical and Ideological Film Criticism." Galactica Media: Journal of Media Studies 6, no. 2 (May 20, 2024): 96–120. http://dx.doi.org/10.46539/gmd.v6i2.434.

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Kurmanjan Datka Queen of the Mountains (2014) is a Kyrgyz historical drama film directed by Sadyk Sher-Niyaz tells the story of Kurmanjan Datka from Kyrgyz history. In this article, how the mentioned motion picture is discussed in Central Asian, Russian, Turkish and Western digital media is analyzed comparatively in the context of historical and ideological film criticism. It is tried to be understood how each country interprets the film in their own media, how they look at the history of Kyrgyzstan and its ideological discourse. In the research, critical discourse analysis method was used and conceptual and thematic classifications were made. At the end of the research, while more history and politics were discussed in the Central Asian media, the Russian and Turkish digital media did not show enough attention to the historical flow, while the Western digital media discussed the film in a multifaceted way in the context of economy-political, identity, gender and aesthetics. Another remarkable difference was that some of the Kyrgyz or Kazakh critics (especially statesmen, historians or artists) criticized the film on the economic-political axis. The in-depth and multidimensional criticisms of the film developed by the eastern critics were found in the Western media or Western journalists gave place to these views in their own digital media.
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Ochonicky, Adam. "Memory patterns." Science Fiction Film & Television 17, no. 1 (February 2024): 1–27. http://dx.doi.org/10.3828/sfftv.2024.1.

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This article asserts that the original Star Trek films (1979–91) have importance for the study of memory and media in the digital era. I advance several interrelated arguments, with a special emphasis on Star Trek: The Motion Picture . First, I address how Star Trek: The Motion Picture ’s treatment of memory corresponds to scientific models of human recollection and theories of archives and databases. Notably, the first Star Trek film expresses anxiety about the mutability of memory and potential ramifications of digitalization. Such elements anticipate major strands of scholarship on memory, digitalization, and franchises from subsequent decades. Second, I introduce the concept of “franchise recall,” which highlights the memory-driven nature of media franchises. Franchise recall manifests through self-reflexive commentary on cross-medium adaptation and/or through the use of recycled footage within installments. By mapping franchise recall across the initial six Star Trek films, I expose an underlying interconnectedness comparable to the associative operations of memory. Throughout the article, I also show how Star Trek: The Motion Picture ’s narrative and aesthetics resemble slow cinema. Overall, I demonstrate the surprising prescience and continued relevance of the original Star Trek films for grappling with the parameters and intersections of human and technological recall.
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Driscoll, Catherine, and Liam Grealy. "In the name of the nation: Media classification, globalisation, and exceptionalism." International Journal of Cultural Studies 22, no. 3 (July 5, 2018): 383–99. http://dx.doi.org/10.1177/1367877918784606.

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This article examines the relationship between exceptionalism and nationhood in media classification. The history of age-ratings is an international one, and the present challenges associated with digital media circulation are similarly international. We argue that the nation nevertheless provides an appropriate frame for understanding age-rating by attending to the ways national agencies have struggled to articulate the specificity of their work based on the specificity of domestic constituencies. Drawing on archival and ethnographic research, our central examples include the resistance of the Motion Picture Association of America to age-based film classification, the British Board of Film Classification’s examination of American films in the 1980s, contemporary Japanese videogame regulation, and the emergence of the International Age Rating Coalition. We argue that national exceptionalism is itself generalised and that media content regulation is less about producing national culture than about laying claim to a nation by differentiation.
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Dissertations / Theses on the topic "Digital media and motion pictures"

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Craddolph, Hayden V. "Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media." online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.

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Taylor, Paul. "Responding to the shock of the new : trade, technology, and the changing production axis in film, television, and new media /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6202.

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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.

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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?
Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD
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Jutterström, Ellinor, and Alexander Johansson. "Meeting Monsters - How Interactivity Affects the User Experience in Digital Motion Picture Horror Stories." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-188631.

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As media over the last decade has become increasingly interactive, the user’s role as the previously passive observer has shifted to an active role playing its own part of the experience. The same development can be seen in storytelling, where traditional narrative techniques are often combined with modern technology in order to create a new level of immersion, aiming to provide the user with the feeling of “being there”. The aim of this study is to practically investigate interactive storytelling and see how different levels of interactivity affects the general user experience within the horror genre, and if there is a connection between interactivity and the feeling of immersion. In doing so, we hope to investigate how the use of interactivity can be further developed in order to increase the immersive storytelling experience. The study was conducted by having a number of test subjects view five horror stories produced like short horror films mixed with different interactive techniques and answer questions about their experience. Additionally, the participants’ heart rates were monitored during each session. The study revealed that the higher the level of interactivity, the less immersed the user felt, which contradicted the hypothesis that increased levels of interactivity would increase the feeling of immersion. Meanwhile, interactive elements were generally more enjoyed. From the results it could eventually be concluded that it is not the interactivity per se that has the potential to increase the immersive experience, but the ability to let the user interact without any perceived restrictions. In other words, for interactivity to not inhibit the feeling of immersion, it must befit the story and have natural implementations of the controls in order to not steal attention from the content.
Samtidigt som media under det senaste decenniet har blivit alltmer interaktivt så har användarens tidigare roll som passiv åskådare skiftat till att istället vara en aktiv del av upplevelsen. Samma utveckling kan ses i historieberättandet, där traditionella, narrativa tekniker ofta kombineras med modern teknologi för att skapa en ny nivå av inlevelse med målet att förse användaren med känslan av att ”vara där”. Målet med denna studie är att praktiskt utreda interaktivt berättande och se hur olika nivåer av interaktivitet påverkar användarens generella upplevelse inom skräck-genren, samt om det finns ett samband mellan interaktivitet och inlevelse. På så vis hoppas vi på att utreda hur användandet av interaktivitet kan fortsätta att utvecklas för att förstärka känslan av inlevelse i historieberättandet. Studien genomfördes genom att låta ett antal försökspersoner se fem korta skräckfilmer med olika interaktiva tekniker, för att sedan svara på frågor om upplevelsen. Deltagarnas hjärtfrekvens mättes även under varje delmoment. Studien pekade på att ju högre nivå av interaktivitet, desto mindre kände användaren inlevelse, vilket gick emot hypotesen att högre nivåer av interaktivitet skulle öka inlevelsen. Samtidigt visade det sig att de interaktiva inslagen generellt uppskattades mer av användarna. Från resultatet kunde så småningom slutledas att det inte är interaktiviteten i sig som har potentialen att förstärka inlevelsen, utan förmågan att låta användaren interagera utan några upplevda begränsningar. För att interaktiviteten inte ska hämma känslan av inlevelse måste denna med andra ord passa berättelsen och använda sig av kontroller med naturlig känsla för att inte stjäla uppmärksamheten från innehållet.
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Hall, Stefan. "“You’ve Seen the Movie, Now Play the Game”: Recoding the Cinematic in Digital Media and Virtual Culture." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300365433.

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Jones, Sarah B. "Digitized : women, careers, and the new media age : a heuristic analysis." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397377.

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This project presents an overview of the entertainment industry's acceptance of women historically within its job market and a changing climate due, in part, to emerging digital technology. Findings suggest the female-disadvantage in procuring a behind-the camera job in the entertainment industry is on the decline. Also, the disparity between the number of women versus men working in this industry appears to be narrowing. New technology seems to be speeding up these processes, due largely in part to its relatively low cost and accessibility. An apparent shift in societal views of gender roles couples with this new technology to help level the career field between men and women in this new media age. This project also serves as a reference guide for individuals seeking to enter a career in the entertainment industry.
Department of Telecommunications
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Santos, Sillas Carlos dos. "O processo criativo para roteirização nas mídias digitais : os casos de Anymalu e Agência Transmídia /." Bauru, 2019. http://hdl.handle.net/11449/183165.

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Orientador: Antonio Francisco Magnoni
Banca: Marcos Américo
Banca: Glaucia Eneida Davino
Resumo: Discute-se a influência do advento das mídias digitais no processo de criação de roteiros para produções audiovisuais ficcionais brasileiras. Contextualiza-se a relação entre tecnologias e narrativas e também da produção de roteiros audiovisuais. Em seguida, discute-se esta influência a partir de um estudo de caso múltiplo, acompanhado de entrevistas em profundidade com criadores de produções brasileiras para mídias digitais
Abstracts: This discusses the influence of digital media in the process of creating Brazilian fictional screenplays. It adresses the relationship between technologies, narratives, and screenplay production. Then, this subject is approached from a multi-case study and in-depth interview with creators of Brazilian productions
Mestre
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Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.

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This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.
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OLSON, PHILIP. "An Examination of the Effects of Broadband and Digital Technologies on the Distribution and Exhibition of Motion Picture and Television Content." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1449960177.

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Westling, Jonas. "HDR and the Colorist : How new technology affects professionals in the motion picture industry." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30398.

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By utilizing a Research through Design approach this master thesis studies how technological changes might affect professionals working in the motion picture industry, specifically; how the advent of HDR (High Dynamic Range) affects the colorist. The research questions formulated are the following; (1) How can color grading in HDR be approached? (2) What effect can HDR have on visual modality? (3) What specific affordances can HDR offer the colorist? (4) How can HDR affect the creative space of the colorist? Three of the research questions are derived from the theoretical framework applied in this master thesis; starting with the social semiotic implementation of the term modality (models of reality), the Gibsonian term affordance (possibilities for action and meaning making) and its use in communications research, and lastly; the concept of creative space in motion picture production. Analytic autoethnography was used to generate primary data by documenting the process of color grading a 13-minute short film, and also performing semistructured interviews with four colorists. Amongst other findings, this study found that HDR offers a wider range of modality expression than SDR (Standard Dynamic Range); regarding several visual modality markers. Four HDR-specific affordances were formulated; (1) color expandability, (2) highlight differentiability, (3) tonal rangeability, (4) brightness disturbability. Relating to the concept of creative space; the colorists expressed a concern that they will have to create multiple versions when delivering HDR, but not get a bigger budget for it, therefore having less time to spend on other aspects of color grading.
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Books on the topic "Digital media and motion pictures"

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Meltev, Mikhail. Kino i elektronni medii: Mikhail Meltev. Sofii︠a︡: Nov Bŭlgarski Universitet, 2012.

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Dvivedī, Rāma Prakāśa. Ilekṭrônika mīḍiyā aura sinemā. Naī Dillī: Prāsaṅgika Pabliśarsa eṇḍa Ḍisṭrībyūṭarsa, 2013.

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McNeill, Isabelle F. Memory and the moving image: French film in the digital era. Edinburgh: Edinburgh University Press, 2010.

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Brunella, Elisabetta. The European digital cinema report: Understanding digital cinema roll-out. Strasbourg: European Audiovisual Observatory, 2011.

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Sorg, Jürgen. Spielformen im Spielfilm: Zur Medienmorphologie des Kinos nach der Postmoderne. Bielefeld: Transcript, 2007.

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Liang, Guowei. Kua yue shi kong de ying xiang jiao liu: Shu zi dian ying de mei jie xing tai. Beijing: Shang wu yin shu guan, 2007.

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Isaacs, Bruce. Orientation of future cinema: Technology, aesthetics, spectacle. New York: Bloomsbury, 2014.

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Dixon, Wheeler W. 21st century Hollywood: Movies in the era of transformation. New Brunswick, N.J: Rutgers University Press, 2011.

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Audrey, Foster Gwendolyn, ed. 21st century Hollywood: Movies in the era of transformation. New Brunswick, N.J: Rutgers University Press, 2011.

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Kindem, Gorham Anders. Introduction to media production: From analog to digital. Boston: Focal Press, 1997.

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Book chapters on the topic "Digital media and motion pictures"

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Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education, 1–18. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education, 57–74. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Fuller, Linda K. "Media-Mediated Relationships in Motion Pictures, Music, and More." In Media-Mediated Relationships, 147–70. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250234-5.

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Griffey, Julia V. "Animation and motion graphics." In Digital Media Production for Beginners, 139–62. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003462200-10.

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Mills, Kathy A., Len Unsworth, and Laura Scholes. "Haptics and motion in literacy practices with digital media." In Literacy for Digital Futures, 107–24. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003137368-8.

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Kutscher, Nadia. "Positionings, Challenges, and Ambivalences in Children’s and Parents’ Perspectives in Digitalized Familial Contexts." In Families and New Media, 59–72. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-39664-0_3.

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AbstractDigital media use has long been part of families’ everyday lives. Various studies show that digital media is not only a component of the everyday lives of children and parents, but also raises new questions—or, rather, old questions in a new context. Everyday practices in families combine with digital practices with media, sometimes changing their form and reach and interlocking with other contexts and effects. In parent blogs, Instagram posts, and YouTube channels, families document their everyday lives in a plethora of ways. In the process, a great deal of information about children, young people, and adults, as well as pictures and videos of them, are published and shared with others via social networks or apps such as Facebook, WhatsApp, Instagram, YouTube, and Snapchat. Many parents post pictures to let relatives and friends participate in their family life or in their child(ren)’s development. Some make a living from this and reach a large public audience.
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Lotherington, Heather. "Language in Digital Motion: From ABCs to Intermediality and Why This Matters for Language Learning." In Beyond Media Borders, Volume 1, 217–38. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49679-1_7.

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Abstract Linguistic communication has moved beyond simple alphabetic encoding to multimedia design, challenging the fit of structural theories of language to digital communication. This transition is barely evident in mobile language learning contexts where top-selling apps present language as a linguistic structure to be drilled, ironically bypassing the complex communicative potential of smart devices. This chapter overviews changing language norms from language as structure to language within multimodality and comparatively discusses multimodality from a social semiotics paradigm nested in linguistic theory and from Elleström’s intermediality paradigm. To illustrate how one could conceptualize multimodality from a perspective decentred from linguistics and leveraged to explain language use in multimedia contexts, the author examines two novel features of digital communication: emoji and conversational digital agents.
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Won, Haeyeon, and Jeongmin Yu. "Interactive Media Art Based on Location and Motion Tracking of Multi-performers." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 111–17. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01765-1_13.

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Jan, Steven. "7 Conclusion." In Music in Evolution and Evolution in Music, 565–626. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0301.07.

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Chapter 7: explores the relationships between evolution and consciousness, and the role of music (traditionally understood and also conceived in its new incarnations in digital media) in this relationship. The widely supported theory of consciousness as driven by Darwinian processes (hypothesised, among others, by William Calvin, Daniel Dennett, and Henry Plotkin) allows evolution to be conceived, conversely, as a form of slow-motion consciousness. In this sense, the evolution of large-scale systemic structures in music – such as the much theorised issue of tonal-system evolution in the late-nineteenth and early-twentieth centuries – is a form of high-level musical consciousness running in parallel with (indeed, driven by) the lower-level variation, replication and selection of particulate musemes.
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Gowanlock, Jordan. "Conclusion: Engineering Movies." In Palgrave Animation, 171–80. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_7.

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AbstractThe conclusion to Animating Unpredictable Effects argues for the importance of understanding engineering and R&D as a part of animation and visual effects production, in opposition to critics who dismiss these as mere tools for hyperrealism. This provides for a better understanding of a diverse range of contemporary digital media production practices that involve extensive technical work, but it also sheds light on film production practices going back a century. Using the example of practical special effects, like puffs of smoke or splashing waves in a studio water tank, which create unpredictable motion under artificial conditions, the conclusion draws a long history of practices that represent the world by making artificial mechanisms rather than capturing or drawing images.
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Conference papers on the topic "Digital media and motion pictures"

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Bakke, Arne M., Jon Y. Hardeberg, and Steffen Paul. "Simulation of film media in motion picture production using a digital still camera." In IS&T/SPIE Electronic Imaging, edited by Susan P. Farnand and Frans Gaykema. SPIE, 2009. http://dx.doi.org/10.1117/12.816405.

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Miyamoto, Yoshihiro, Mutsumi Ohta, and Takao Omachi. "Study On Non-Real-Time Motion Picture Coding For Read-Only Digital Storage Media." In 1989 Symposium on Visual Communications, Image Processing, and Intelligent Robotics Systems, edited by William A. Pearlman. SPIE, 1989. http://dx.doi.org/10.1117/12.970167.

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Kanfer, Michael. "Contemporary Techniques for Digital Compositing in Motion Pictures." In SMPTE Technical Conference. IEEE, 1996. http://dx.doi.org/10.5594/m00135.

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Klinke-Schroth, Janine. "Pictures in Motion - Using moving images to approach urban tasks." In eCAADe 2003: Digital Design. eCAADe, 2003. http://dx.doi.org/10.52842/conf.ecaade.2003.505.

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Klinke-Schroth, Janine. "Pictures in Motion - Using moving images to approach urban tasks." In eCAADe 2003: Digital Design. eCAADe, 2003. http://dx.doi.org/10.52842/conf.ecaade.2003.505.

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Chambah, Majed, Bernard Besserer, and Pierre Courtellemont. "Recent progress in automatic digital restoration of color motion pictures." In Electronic Imaging 2002, edited by Reiner Eschbach and Gabriel G. Marcu. SPIE, 2001. http://dx.doi.org/10.1117/12.452979.

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Das, Dipto, Malay Bhattacharyya, Laura S. Gaytan-Lugo, Ebtisam Alabdulqader, and Nova Ahmed. "Note: Importance of Digital Profile Pictures on Social Media Perceived by Different Groups." In COMPASS '22: ACM SIGCAS/SIGCHI Conference on Computing and Sustainable Societies. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3530190.3534853.

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Tirakoat, Suwich. "Optimized Motion Capture System for Full Body Human Motion Capturing Case Study of Educational Institution and Small Animation Production." In 2011 Workshop on Digital Media and Digital Content Management. IEEE, 2011. http://dx.doi.org/10.1109/dmdcm.2011.53.

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Ismail, Ismahafezi, Mohd Shahrizal Sunar, Hay Wen Qian, and Mohd Azhar M. Arsad. "3D character motion deformation technique for motion style alteration." In 2015 4th International Conference on Interactive Digital Media (ICIDM). IEEE, 2015. http://dx.doi.org/10.1109/idm.2015.7516341.

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Fu, Pengbin, Haifei Xiong, and Huirong Yang. "A Motion Estimation Algorithm for Educational Video Compression." In 2011 Workshop on Digital Media and Digital Content Management. IEEE, 2011. http://dx.doi.org/10.1109/dmdcm.2011.33.

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