Academic literature on the topic 'Realism in motion pictures'
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Journal articles on the topic "Realism in motion pictures"
Stadler, Jane. "Experiential Realism and Motion Pictures." Studia Phaenomenologica 16 (2016): 439–65. http://dx.doi.org/10.5840/studphaen20161616.
Full textBetancourt, Michael. "Meditation on realism." Short Film Studies 10, no. 1 (January 1, 2020): 117–20. http://dx.doi.org/10.1386/sfs.10.1.117_1.
Full textMcGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.
Full textElgamal, Amal. "Cinema and its image." Contemporary Arab Affairs 7, no. 2 (April 1, 2014): 225–45. http://dx.doi.org/10.1080/17550912.2014.918320.
Full textRusinova, E. A. "Voice in the Metadiegetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 46–59. http://dx.doi.org/10.17816/vgik9346-59.
Full textBinar Kurnia Prahani, Sayidah Mahtari, Suyidno, Joko Siswanto, and Wahyu Hari Kristiyanto. "Metaphysics in a Review of "Karl Popper's Philosophy of Science" (Rationality Without Foundations) by Stefano Gattei." IJORER : International Journal of Recent Educational Research 1, no. 3 (October 31, 2020): 314–18. http://dx.doi.org/10.46245/ijorer.v1i3.58.
Full textAnderson, Joseph D. "Scene and Surface in the Cinema : Implications for Realism." Cinémas 12, no. 2 (October 31, 2007): 61–73. http://dx.doi.org/10.7202/024880ar.
Full textRosen, Philip. "Nation and Anti-Nation: Concepts of National Cinema in the "New" Media Era." Diaspora: A Journal of Transnational Studies 5, no. 3 (December 1996): 375–402. http://dx.doi.org/10.3138/diaspora.5.3.375.
Full textGeiger, Jeffrey. "Exquisite wonder: Colour film, realism and the Yankee voyage, 1936–38." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 57–79. http://dx.doi.org/10.1386/nzps_00015_1.
Full textNepiypov, Vladyslav V. "HYPERREALISM IN DIGITAL CINEMA (BASED ON THE ANALYSIS OF LOVE, DEATH & ROBOTS ANTHOLOGY SERIES)." Art and Science of Television 17, no. 3 (2021): 73–94. http://dx.doi.org/10.30628/1994-9529-2021-17.3-73-94.
Full textDissertations / Theses on the topic "Realism in motion pictures"
Martínez-Abeijón, Matías. "Identidad, mito y prescripción una nueva ola de realismo en España. El cine de Iciar Bollaín, Fernando León, Achero Mañas y Benito Zambrano en el cambio de siglo /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199295318.
Full textChan, Yan-chuen, and 陳仁川. "Neorealism and the Chinese ideology in Yamada Yoji's family films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/210180.
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Doctor of Philosophy
Ucoluk, Ece. "Simulacrum of Reality: Network Narrative in Babel." Ohio : Ohio University, 2010. http://www.ohiolink.edu/etd/view.cgi?ohiou1268671271.
Full textBiswas, Moinak 1961. "Historical realism : modes of modernity in Indian cinema, 1940-60." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7582.
Full textCowley, Brent. ""Reality" while Dreaming in a Labyrinth: Christopher Nolan as Realist Auteur." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011762/.
Full textRyu, Jae Hyung. "Reality & effect a cultural history of visual effects /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.
Full textTitle from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).
Perry, Colin, and mikewood@deakin edu au. "The narrativization of actuality: Convergence of form and genre in film and television." Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.092326.
Full textDiaz, Gandasegui Vicente. "(Un)real (un)realities : exploring the confusion of reality and unreality through cinema." Thesis, University of South Wales, 2008. https://pure.southwales.ac.uk/en/studentthesis/unreal-unrealities(e5c3dcea-8f65-43a6-b067-24f0b4b4ecb0).html.
Full textBain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Full textENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.
Full textThis thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.
I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.
The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.
Books on the topic "Realism in motion pictures"
Rubin, Steven Jay. Combat films: American realism, 1945-2010. 2nd ed. Jefferson, N.C: McFarland, 2011.
Find full textIvone, Margulies, ed. Rites of realism: Essays on corporeal cinema. Durham: Duke University Press, 2003.
Find full textNagib, Lúcia. World cinema and the ethics of realism. New York, NY: Continuum, 2011.
Find full textNagib, Lúcia. World cinema and the ethics of realism. New York, NY: Continuum, 2011.
Find full textBrunetta, Gian Piero. Il cinema neorealista italiano: Storia economica, politica e culturale. Roma: GLF editori Laterza, 2009.
Find full textBowie, José Antonio Pérez. Realismo teatral y realismo cinematográfico: Las claves de un debate (España, 1910-1936). Madrid: Biblioteca Nueva, 2004.
Find full textMurphy, Robert. Realism and tinsel: Cinema and society in Britain, 1939-1948. London: Routledge, 1989.
Find full textSauro, Borelli, ed. Il Fantasma della realtà. Firenze: La Casa Usher, 1990.
Find full textFestival internazionale cinema giovani (7th). Neorealismo: Cinema italiano, 1945-1949. Torino: EDT, 1989.
Find full textMoneti, Guglielmo. Lezioni di neorealismo. Siena: Nuova immagine, 1998.
Find full textBook chapters on the topic "Realism in motion pictures"
Raz, Gal. "Virtual Reality as an Emerging Art Medium and Its Immersive Affordances." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 995–1014. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_42.
Full textYabuki, Nobuyoshi, Tomohiro Fukuda, and Ryu Izutsu. "As-Built Detection of Structures by the Segmentation of Three-Dimensional Models and Point Cloud Data." In CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 1117–24. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/10.36253/979-12-215-0289-3.111.
Full textYabuki, Nobuyoshi, Tomohiro Fukuda, and Ryu Izutsu. "As-Built Detection of Structures by the Segmentation of Three-Dimensional Models and Point Cloud Data." In CONVR 2023 - Proceedings of the 23rd International Conference on Construction Applications of Virtual Reality, 1117–24. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0289-3.111.
Full textkydd, Elspeth. "Motion Pictures." In The Critical Practice of Film, 17–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_2.
Full textKamada, Seiichi. "Motion Pictures." In Springer Monographs in Mathematics, 39–73. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4091-7_3.
Full textKamada, Seiichi. "Motion pictures." In Mathematical Surveys and Monographs, 63–70. Providence, Rhode Island: American Mathematical Society, 2002. http://dx.doi.org/10.1090/surv/095/09.
Full textWalters, James. "Perpetual motion pictures." In The Routledge Companion to World Cinema, 382–92. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-32.
Full textCzitrom, Daniel. "Early Motion Pictures." In Communication in History, 158–66. 8th ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-26.
Full textCzitrom, Daniel. "Early Motion Pictures." In Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.
Full textPrinz, Jesse. "Affect and Motion Pictures." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 893–921. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_38.
Full textConference papers on the topic "Realism in motion pictures"
Obretenov, Christos. "Cinematography For Stylized Motion Pictures." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3587421.3595426.
Full textLagendijk, R. L., and M. I. Sezan. "Motion compensated frame rate conversion of motion pictures." In [Proceedings] ICASSP-92: 1992 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 1992. http://dx.doi.org/10.1109/icassp.1992.226178.
Full textKaraki, Koichi, Hiroko Sasaki, and Masaharu Mitsunaga. "Holographic motion pictures by hole burning." In International Conferences on Optical Fabrication and Testing and Applications of Optical Holography, edited by Toshio Honda. SPIE, 1995. http://dx.doi.org/10.1117/12.215315.
Full textAlexander, P. "Development of integral holographic motion pictures." In Display Holography: Fifth International Symposium, edited by Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201899.
Full textChuang, Yung-Yu, Dan B. Goldman, Ke Colin Zheng, Brian Curless, David H. Salesin, and Richard Szeliski. "Animating pictures with stochastic motion textures." In ACM SIGGRAPH 2005 Papers. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1186822.1073273.
Full textHolynski, Aleksander, Brian Curless, Steven M. Seitz, and Richard Szeliski. "Animating Pictures with Eulerian Motion Fields." In 2021 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2021. http://dx.doi.org/10.1109/cvpr46437.2021.00575.
Full textYang, Minxia, Jiaqi Zhang, and Lu Yu. "Perceptual Tolerance to Motion-To-Photon Latency with Head Movement in Virtual Reality." In 2019 Picture Coding Symposium (PCS). IEEE, 2019. http://dx.doi.org/10.1109/pcs48520.2019.8954518.
Full textWahrman, Michael, Richard Hollander, Michael Backes, and Martha Coolidge. "The reality of computer graphics in the motion picture industry." In ACM SIGGRAPH 88 panel proceedings. New York, New York, USA: ACM Press, 1988. http://dx.doi.org/10.1145/1402242.1402249.
Full textvan der Steen, Han. "Measuring the realism of motion in flight simulators." In Modeling and Simulation Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2000. http://dx.doi.org/10.2514/6.2000-4293.
Full textBaecker, Ronald, Alan J. Rosenthal, Naomi Friedlander, Eric Smith, and Andrew Cohen. "A multimedia system for authoring motion pictures." In the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244142.
Full textReports on the topic "Realism in motion pictures"
Koschmann, Anthony, and Yi Qian. Latent Estimation of Piracy Quality and its Effect on Revenues and Distribution: The Case of Motion Pictures. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27649.
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