Literatura académica sobre el tema "Visual-arts film"
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Artículos de revistas sobre el tema "Visual-arts film"
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Shostak, Arthur. "Framing Film: Cinema and the Visual Arts". European Legacy 22, n.º 4 (17 de febrero de 2017): 506. http://dx.doi.org/10.1080/10848770.2017.1291894.
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Stokes, Jane C. "Framing Pictures: film and the visual arts". Historical Journal of Film, Radio and Television 33, n.º 3 (septiembre de 2013): 516–18. http://dx.doi.org/10.1080/01439685.2013.820918.
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Stankovic, Maja. "10.5937/kultura1442182s = Film and temporality in visual arts". Kultura, n.º 142 (2014): 182–98. http://dx.doi.org/10.5937/kultura1442182s.
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Acham, Christine. "trinidad+tobago film festival: Nurturing a Developing Film Industry". Film Quarterly 69, n.º 3 (2016): 79–83. http://dx.doi.org/10.1525/fq.2016.69.3.79.
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Festival Report: The trinidad+tobago film festival (ttff) was a whirlwind experience: fourteen days of intense programming that left Christine Acham both exhausted and exhilarated by the too-often-unacknowledged work happening in the Caribbean today. The largest film festival in the English-speaking Caribbean celebrated its tenth anniversary from September 15–29, screening some 150 films, facilitating a film mart, curating a New Media collection, and staging both a filmmaker immersion program and a three-day academic film symposium. A cursory look at the festival's program speaks to its role as historian, educator, and entertainer, with an overriding interest in building a sustainable film industry in the Caribbean. Films reviewed include: Outloud, A Safe Space, Sweet Micky for President, and My Father's Land.
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Gaber, Dr Intidhar Ali. "La relación entre lo artístico de la poesía de Arseni Alexandrovich Tarkovski y las imágenes visuales de Andrei Tarkovski en la película El espejo." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, n.º 1 (1 de junio de 2017): 1–18. http://dx.doi.org/10.36473/ujhss.v221i1.413.
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This work is devoted to theoretical issues applied to the film The Mirror for the russian writer and director Tarkovsky. His work is considered a good example to study the relationship interartistic of arts in general and the visual culture of cinema in particular, where all the arts (music, painting, poetry and image) are grouped. The study includes an overview of the scenes of the film, and a structural analysis of some theoretical phenomena that show the relationship between both verbal arts (the poetic image) and visual (pictorial image - the film image), and how these arts are combined through the remedies that indicate events and references by the same ways, as ekphrasis, metaphor, synesthesia, metaimagen, etc. ... this seems to be prepare the film for the population, intensifying a certain mood or certain feelings.
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Ghaderi Ghalehno, Aynaz. "The aesthetic reception of the film Exam". Short Film Studies 12, n.º 2 (1 de septiembre de 2022): 155–60. http://dx.doi.org/10.1386/sfs_00079_1.
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Few studies have observed audience reception within the context of narrative short films. Short films, with their idiosyncratic structures and smaller audience, have been overlooked by the field of film studies in favour of other forms – namely feature films. This article discusses the audience reception of the short film Exam in accordance with Molinié’s Sémiostylistique (‘semio-stylistics’) and examines the aesthetic effect of this short film on its audience.
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TEKİN KARAGÖZ, Ceren. "VISUAL ANALYSIS OF FILMS IN THE CONTEXT OF COLOR BY DIRECTORS WHO GRADUATED FROM VISUAL ARTS". IEDSR Association 7, n.º 18 (18 de marzo de 2022): 105–21. http://dx.doi.org/10.46872/pj.498.
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This study aims to make a visual analysis of each of the films of six artists-directors who received visual arts education and to examine the elements used in the films in the context of visual arts. The artist-directors selected as a sample in the study are Akira Kurosawa, David Lynch, Wong Kar-Wai, Peter Greenaway, Robert Bresson, Andrzej Wajda. These directors were selected with a homogeneous sampling method, one of the purposive sampling methods. In this context, the selected directors have been chosen because they have received visual arts education, the branches of art they are interested in, and have different cultural codes. Visual content analysis, one of the qualitative research methods, was used in this study. The content analysis approach of visual data, which is one of the main methods of analyzing visual materials and data, was used. For this purpose, first, all the films were watched by the researcher, and the image files were arranged in scenes and systematized for examination. The colors used in the resulting movie scenes were visualized in the Procreate program. In addition, the analyzes are philosophically based on the rise and retreat movement that occurs because of the dark and light fighting in Paul Klee's Theory of Colors. A film belonging to each director was examined with the visual analysis method. As a result of the analyzes carried out, it is seen that visual art education has great effects on the use of the color in the films of the directors who receive visual art education. In addition, it has been concluded that in the films of the directors, the narrative has a visual weight and, in these films, which we can call art cinema, photographic images with a linear story are frequently included.
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Giraud, François. "Gestural Intermediality in Jean-Luc Godard’s First Name: Carmen (1983)". Acta Universitatis Sapientiae, Film and Media Studies 15, n.º 1 (1 de octubre de 2018): 125–36. http://dx.doi.org/10.1515/ausfm-2018-0007.
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Abstract Although the intermediality of Jean-Luc Godard’s films of the 1980s has been extensively analysed, especially the tableaux vivants in Passion (1982), little has been said on the intermedial dimension of gesture in the director’s work of this period. The article investigates how the gestural flows in Godard’s First Name: Carmen (Prénom Carmen, 1983) interrelate heterogeneous forms, meanings, arts, and media. The interconnection between the gestures of the musicians who are rehearsing Beethoven’s late string quartets and the lovers’ gestures, inspired by Rodin’s sculptures, gives cohesion to the hybrid aesthetics of the film. Gesture is the element which incorporates, develops, and sets in motion the features of the other arts, not only by creating an in-between space that forges links between media, but especially by exhibiting the process of making itself. Indeed, the relationship between the performing, musical, and visual arts is made visible in the exhibition of the corporeal effort of making (whether it be making music, film, or love) that tends to open the boundaries separating the different arts. The aural and visual qualities of gestures communicate between themselves, generating rhythms and forms that circulate in the continuous flow of moving images. By fostering the analogy between the gesture of carving, of performing music, and of making film, Godard highlights what unites the arts in cinema, while feeding on their differences.
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Parmelee, Stephen. "Remembrance of Films Past: Film Posters on Film". Historical Journal of Film, Radio and Television 29, n.º 2 (junio de 2009): 181–95. http://dx.doi.org/10.1080/01439680902890662.
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Chapman, James. "‘The same virile ability of Val Guest’: The Film Finances Archive and British Film-makers". Journal of British Cinema and Television 19, n.º 4 (octubre de 2022): 495–517. http://dx.doi.org/10.3366/jbctv.2022.0644.
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This article draws upon the Film Finances Archive to propose an alternative hierarchy of British directors based on their ability to deliver films on budget and schedule rather than on the artistic qualities of their films. An analysis of the archive’s large collection of budgets and cost reports for British feature films since 1950 highlights which directors had a record of economical and timely delivery of their films. The article shows that the common distinction between auteur and journeyman directors does not necessarily map onto their efficiency as film-makers. In this way the article demonstrates how a particular archive can offer new ways of thinking about British cinema history based on the professional discourses of the film industry.
Tesis sobre el tema "Visual-arts film"
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Wright, Claire Louisa. "Arts evaluation and the transformative power of the arts : a visual ethnography of transformative learning in a collaborative community (arts) film". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9831.
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Arts organisations in receipt of public funding should seek to understand the impact of their work, for a variety of reasons. Contemporary outcome-based arts evaluation practice dichotomises impact as intrinsic or instrumental with the latter perspective defining what counts. However, a widely held belief in the transformative power of the arts is apparent in both arts policy and practice. It therefore follows that if evaluation is fundamentally about discerning value then arts evaluation should recognise transformation as core. I contend that visually-based research methods offer alternative ways of seeing and knowing from the methods that dominate arts evaluation practice. As a result, I consider how these methods might help to identify what is transformative within the context of a community arts project. To explore how evaluation can better reflect the transformative power of the arts, I ask three research questions. Firstly, can participants’ experience be theorised and understood as transformative arts-based learning? Secondly, to what extent can participants’ experience of a community arts project be understood through visually-based research methods? Thirdly, what are the implications for existing practices of arts evaluation? I explore these questions in relation to a single participatory arts project. The Happy Lands, funded (primarily) by Creative Scotland, brought together communities across Fife with a professional film crew to create a feature length film based on local stories of mining culture. Employing visual ethnography my research methods included image-elicited interviews with 19 participants over a 20 month period, participant observation during the making of the film, and documentary research. The theoretical contribution I make extends Morgan’s (2010) conception of the transformative potential of travel to the transformative power of the arts, which I define in terms of inspiration, interconnection and insight. I propose a conceptual framework that views the experience of ‘sameness’ (interconnection) and ‘Otherness’ (inspiration) as conducive to the possibility of voice (insight). The interaction of self, other and artwork in the context of the participatory (community) arts project leads to the creation of shared identity (identities) and a sense of belonging manifest in the symbolic status of objects and behaviour (‘spirit of place’) associated with the arts project. Visual research methods, combining subjective meaning-making and objective (representational) qualities, offer opportunities to understand and (re)present participants’ experience. I advance a methodological contribution that suggests image elicitation offers an epistemologically appropriate approach to understanding participant experiences of an inherently visual project. The identification of sense of place and spirit of place can be viewed as indicative of a transformative environment. I contend that the creation of an outcome acknowledging the transformative environment of the arts project would respond to the needs of government but also the beliefs of arts educators effectively redressing the balance of instrumental versus intrinsic worth. Moreover, the subjective and objective possibilities afforded by visually-based research methods would enable the latter to speak creatively, in language(s) reflecting their values. As a result my findings are offered as one possible version of a humanities-inspired approach to arts evaluation (Belfiore and Bennett, 2010b).
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Waschneck, Katja. "Screening 'Oulipo' : from potential literature to potential film". Thesis, University of Essex, 2018. http://repository.essex.ac.uk/22413/.
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This thesis documents a research and art project that explores the creative value of using constraints in film. The starting point is the Ouvroir de Littérature Potentielle (Oulipo), the Potential Workshop of Literature, whose members explore the Potential of Literature by writing with constraints, and the films of the early twentieth century avant-garde, which demonstrate the promise of experimentalism in cinema. From these points of inspiration, the idea of using constraints to explore the potential of a field is transferred to film. As the practice of filmmaking with constraints is yet to be fully formalised and currently lacks substantial academic recognition, this thesis presents a theorisation of constraint filmmaking as a creative practice that cuts across cinematic genres and already established areas of filmmaking practice – those of short, feature, and documentary film. The cinematic work emerging from the Ouvroir de Videographie Potentielle (Ouvipo), the Potential Workshop of Video, and the movement of Dogme 95, are shown to be influential in the theorisation of constraint filmmaking practice, and several other examples of constraint films across cinema will be addressed to show how the use of constraints can enhance a filmmaker’s creativity. The thesis is accompanied by three constraint films: Project Cube, A Day in your Life, and Tales and Tellers, which were made in adherence to the stages of the constraint filmmaking process. Project Cube is an exploration of mathematically inspired constraints and is grounded in the idea of permutation. Twelve shots are used to create several different films, with their order being determined by the rolling of dice. A Day in Your Life focuses on the interplay between linguistic constraints and their visual counterparts, reality and fiction, and past and present. Tales and Tellers is a project that shows the power of images, as fairy tales from participants are illustrated in moving images, using constraints to create these pictures. These short films demonstrate both my theorisation of constraint filmmaking as a practice that can be adopted by other artists also, and my journey from Potential Literature to Potential Film.
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Duncan, Dean William. "Classical music in narrative film : strategies for use and analysis". Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/9082/.
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The present study deals with the use of classical music in narrative film, and some of the theoretical and historical considerations that can help us contextualize and understand that use. The following is a list of chapters, and a summary of concepts contained therein. CHAPTER ONE: After briefly considering some of the challenges of interdisciplinary scholarship, I will review the literature on classical music in the sound film. This review will touch upon the early (1930s and 1940s) commentaries of Kurt London, Hanns Eisler and Theodor Adorno, and John Huntley, and then pass on to a kind of concensus held between both commentators and composers of the 1960s and 1970s. Finally I will review the work of more recent film music scholars who, along with some others working in other fields, provide what I feel to be a more open model for understanding this kind of film music. CHAPTER TWO: Having reviewed the position of the film music community, this chapter will concern some responses of music critics to film music generally, and the appropriation of classical music in particular. I will outline specific complaints and criticisms, and attempt to show some of the broader socio-musical issues that motivated them. CHAPTER THREE: This chapter will consider the musical parallelism associated with traditional Hollywood-type narratives, and then concentrate on the oppositional model (derived from "montage" aesthetics) represented by Soviet and other modernist cinemas. I will deal especially with the influential "counterpoint analogy, " and consider how musical discourse can resolve some of the confusions that this analogy has habitually presented. CHAPTER FOUR: The last chapter will have presented a counterpoint based on musical principles as a possible analogy or metaphor for how film music works, and how its meaning and affect can be understood. This chapter is about the programme music tradition that prevailed in the nineteenth century. I will enumerate some of its sin-fflarities, musically and in terms of its critical reception by the music community, to film music. I will explore how programmes, or extra-musical narratives, are also central to understanding musical meaning, and to the use of classical music in films. CHAPTER FIVE: Here I will look more closely at montage, meaning, and classical music on film. A number of questions will be addressed. What are the interpretive strategies that most apply? How does musical meaning function in a film context, especially with regard to source music? Beyond classical music in general, what is the importance of periods, idioms, composers and specific pieces? What is the significance of the artist's intent? What about when the artist is not fully in control of his circumstances, or of his craft? What of phenomenology? All of these expansions obviously complicate the equation. Accordingly the concept of indeterminacy will be reviewed to suggest how both chance and control operate within musical montage. CHAPTER SIX: I will suggest and expand upon some of the extra-musical implications of this study. I will suggest some of the possibilities these raise for future research.
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Carta, Silvio. "Documentary film, observational style and postmodern anthopology in Sardinia : a visual anthropology". Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3674/.
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This study explores issues of technique, methodology and style in ethnographic/documentary films, with a focus on Sardinia. How are cultural realities constructed in documentary and ethnographic films? In what ways do practical filmmaking strategies reflect wider epistemological questions and ethical concerns? The thesis examines the general stylistic principles that have guided the making of a substantial body of documentary films about Sardinia. Attention has been paid to a range of different methods used by a select number of documentary and ethnographic filmmakers, covering important theoretical points on the distinctive set of technical, aesthetic and ethical problems embodied in the epistemology of their filmmaking practice. The study concludes that scholars should look for a more balanced fusion between film as a multisensory medium of ideas and forms of ethnographic enquiry conducted through language. The nonverbal elements and visual imagery in ethnographic/documentary films suggest obliquely that a kind of knowledge expressed in the concrete case requires an acknowledgment of domains of experience that often elude written expression.
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Mabury, Brett. "An investigation into the spectral music idiom and its association with visual imagery, particularly that of film and video". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/129.
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The exploration of timbre became increasingly significant throughout the 20th century, with some composers making it the essence of their music. This artistic development occurred in conjunction with a technological advancement that together would contribute to the birth of what is now called `spectral music' . Using computers, composers have been able to discover the spectra of frequencies that exist at different strengths for various sounds. The information realised then became the spectral musician' s primary ingredients for composing some extraordinary works. Despite its innovative quality, spectral music is yet to gain widespread interest amongst ensembles, orchestras and ultimately the public. The first two chapters of this thesis are dedicated to the emergence of this largely unknown compositional discipline, its principal composers and the direction spectral music has taken since its inception.
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Marnewick, Benjamin Meiring. "Drawing on/from a mirror : a self-reflexive study of the representation and perception of violence in contemporary film". Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6582.
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Thesis (MA)--University of Stellenbosch, 2011.ENGLISH ABSTRACT: The cinematic communication process starts with the creative enunciation by the filmmaker and ends with the viewer's subjective perception of the film. This thesis represents a theoretical and experiential investigation of this process and entails critical and self-reflexive discussions of stylistic approaches to filmic representation. The focus of this representation falls on on-screen violence. This study is a practice-led process, and therefore the fields of research are applied to my own work, namely the filmmaking process of a feature film entitled Preek. The research was prompted by my need to take an academic stance on the filmmaking process, instead of a mere practical one, and to form an intellectual awareness of the filmmaker and viewer dynamic. As a practicing filmmaker interested in the mimetic quality of film representations, it was necessary for me to form a conscious apprehension of how a film may be understood as a reflection on reality on the one hand, and an expression formulated through the filmmakers creative decisions on the other. The representation of violence in film was investigated by the way of critical readings of selected films, framed by both contemporary and classical film theory. Through contemporary film theory, I investigated the viewer's perception and identification with the film's diegesis, and particularly with its characters. The „classic‟ film theories of the realists and formalists allowed me to discern two stylistic approaches to the representation of violence in film, and to explore the emotional affect and cathartic release these approaches may elicit from viewers. These discussions were then applied to my own film Preek, in order to critically understand the relationship between filmmaker and viewer. The research and the application thereof, indicated that the stylistic approach to the representation of violence and its intensity in a film, unveils the filmmaker's motivation for communicating through the film medium. The arguments showed that I represented the violence in Preek in such a way that it may result in a traumatic affect on the viewer rather than an appreciation of its aesthetic value, and that this affect is the result of an engagement with the film's diegesis, due to the viewer's own identificatory participation. The research concluded that the viewer's subjective identification with the film forms a triangular relationship and communication between filmmaker, film and viewer.
AFRIKAANSE OPSOMMING: Die kinematiese kommunikasieproses begin met die kreatiewe uitdrukking van die filmmaker, en eindig met die kyker se subjektiewe waarneming van die film. Hierdie tesis verteenwoordig 'n teoretiese en ervaringsgerigte ondersoek van die kinematiese kommunikasieproses, en behels kritiese en self-reflektiewe argumente van stilistiese benaderings tot filmiese uitbeelding. Die fokus van hierdie uitbeelding is op geweld gerig. Die navorsing is 'n prakties-georiënteerde studie en daarom word die navorsing op my eie werk toegepas, naamlik die filmmaak-proses van die vollengte film, Preek. Die navorsing was aangespoor deur my behoefte daaraan om die filmmaak-proses vanuit 'n akademiese oogpunt te benader, in pleks daarvan om 'n suiwer praktiese posisie teenoor die filmmaak-proses in te neem. Vervolgens is die navorsing aangespoor deur my behoefte daaraan om intellektuele bewustheid oor die dinamika tussen die filmmaker en kyker te skep. As 'n praktiserende filmmaker wat geïnteresseerd is in die mimetiese eienskap van film-uitbeeldings, was dit vir my belangrik om 'n duidelike begrip te ontwikkel van die manier waarop film verstaan kan word, eertstens as 'n weerspieëling van realiteit, en tweedens as ‟n uitdrukking wat deur die kreatiewe besluite van die filmmaker gevorm is. Die verteenwoordiging van geweld in films is ondersoek deur middel van die kritiese beskouing van uitgesoekte films wat deur beide kontemporêre en klassieke film-teorie gevorm is. Ek het deur kontemporêre film teorie die kyker se waarneming en vereenselwiging met die film se diegesis en veral die film se karakters, ondersoek. Die klasieke film teorieë van die realiste en formaliste het my in staat gestel om tussen twee stilistiese benaderings tot die uitbeelding van geweld in film te onderskei, en om die emosionele effek en katartiese vrystelling wat hierdie benaderings by die kyker kan ontlok, te verken. Hierdie besprekings is gevolglik toegepas op my film, Preek, ten einde 'n kritiese begrip van die verhouding tussen filmmaker en kyker te vorm. Die navorsing en die toepassing daarvan het getoon dat die stilistiese benadering tot die uitbeelding van geweld, asook die intensiteit daarvan in film, die filmmaker se motivering tot kommunikasie deur die film-medium ontbloot. Die argumente het getoon dat ek die geweld in Preek op so 'n manier uitgebeeld het dat dit 'n traumatise affect op die kyker kan hê, in pleks van 'n waardering vir estetiese. Die argumente het verder aangedui dat hierdie effek die resultaat is van ‟n betrokkenheid by die film se diegesis, en dat dit te danke is aan die kyker se deelname aan vereenselwiging. Die navorsing het die slotsom gekom dat die kyker se subjektiewe identifikasie met die film 'n drieledige verhouding tussen filmmaker, film en die kyker vorm.
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Lawson, Matthew. "Scoring the Holocaust : a comparative, theoretical analysis of the function of film music in German Holocaust cinema". Thesis, Edge Hill University, 2016. http://repository.edgehill.ac.uk/8840/.
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Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialisation process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The musical score often goes unnoticed, but may also contain emotional qualities. It can make an audience laugh, cry or alter their perception of the narrative. The three countries of East, West and reunified Germany have each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This thesis combines three key existing fields of academia: film music theory, Holocaust representation in film, and German politics, history and culture. Through comparative textual analyses of six film case studies, two each from East, West and reunified Germany, this thesis examines whether there are examples of similarities or inherent, reoccurring musical characteristics which define the Holocaust on screen. Furthermore, the six analyses will be supported by contextual examinations of the respective countries, directors and composers in order to ascertain whether there were political, cultural and/or social considerations which impacted upon the film scores. The original contribution to knowledge to which this thesis lays claim is that it forms the first significant scholarly engagement with not only the film music of German Holocaust cinema specifically, but, on a broader scale, the ongoing theoretical discourse surrounding film music and representation. This new contribution to Holocaust knowledge also extends to a continued development of the understanding of and engagement with the event and its audio-visual representations.
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Larsson, Adam. "Film som motkultur : Ett djupdyk ner i en svensk subkultur för genrefilm". Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29539.
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Denna uppsats avser att undersöka hur en specifik subkultur tillägnad b-filmer förhåller sig till filmerna de ägnar sig åt. Frågeställningarna är: på vilket sätt betraktar de filmerna och på vilket sätt har den teknologiska utvecklingen påverkat kulturen? För att besvara dessa frågor tar uppsatsen främst stöd av mediekritiken Jeffrey Sconces paracinemateori som grundar sig på observationer av b-filmsfantaster och hur dessa ser på auktoriteter i förhållande till filmmediet, mediehistorikern Pierre Bourdieus modell kring kulturellt kapital, samt John Fiskes observationer av fankultur. Utifrån djupintervjuer med fyra medlemmar ur den svenska b-filmsklubben Klubb Super 8 används teorin för att undersöka uppsatsen frågeställningar. Slutsatsen är att för dessa filmfans erbjuder filmerna något mer än bara underhållning. Det är en form av livsstil för dem.
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Hjelm, Emma. "Oviss Väntan : - En animerad film om ensamhet, längtan och väntan". Thesis, Umeå universitet, Institutionen Konsthögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184612.
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Denna essä behandlar mitt masterprojekt "Oviss Väntan". Projektet resulterade i en videoinstallation bestående av animerade loopar som visades på två skärmar med hörlurar och en ljuddusch på Bildmuseet i Umeå, Sverige i maj 2021. Min uppsats börjar med en presentation av mig själv och min bakgrund som animatör. Jag beskriver min konstnärliga praktik, hur jag arbetar och vad jag har påverkats av. Detta följs av en presentation av själva projektet, där jag diskuterar viktiga delar av projektet, såsom teman och atmosfär, material, form och visualisering. Denna uppsats kommer att slutföras före utställningen på Bildmuseet. Därför kommer bilderna i uppsatsen att fokusera mer på processen och tillvägagångssättet än på det färdiga arbetet. Verket "Oviss väntan" bygger på en tanke om att alla fiktiva karaktärerfaktiskt existerar. Karaktärerna bor med varandra i ett hus där de väntar på att få användas. Filmen porträtterar detta hus, där karaktärerna är inhysta i de olika rummen. Genom animationens olika material och tekniker speglas deras väntan och önskan att göra sig redo för att komma ut i världen. Filmen förmedlar ett känsla av väntan men också av längtan. Jag tror att dessa teman har förstärkts av den rådande pandemin. En väntan som vi inte vet när den kommer att ta slut - om den ens slutar. Ett annat av mina teman är ensamhet. Denna ensamhet som kan finnas i en lägenhet även om endast väggar och golv skiljer oss från andra. Karaktärerna i filmen rör sig i loopar. Genom dessa loopar, tillsammans med musik, ljud och röster, rör sig filmen framåt. Rytmen och dess känsla skapar en form, och ett icke- narrativt berättande. En rörlig målning.This thesis deals with my master’s degree project "Suspense" with the Swedish title “Oviss väntan". The project resulted in a video installation consisting of animated loops displayed on screens with headphones and a sound-shower at Bildmuseet in Umeå, Sweden in May 2021. My essay begins with a presentation of myself and my background as an animator. I describe my artistic practice, how I work and what I have been influenced by. This is followed by a presentation of the project itself, where I discuss important parts of the project, such as themes and atmosphere, materials, form and visualization. This essay will be completed before the exhibition at Bildmuseet. Therefore, the images in the essay will focus more on the process than on the finished work. "Suspense" is based on the idea that all fictional characters exist in real life. The characters live together in a fictional house where they are waiting to be used. The film portrays this house, where the characters are housed in the different rooms, with a variation in materials and animation techniques. The film conveys a mood of waiting but also of longing. I believe that these themes have been enhanced by the current pandemic. A suspense we do not know when it will end - if it even ends. Another of my themes is loneliness. This loneliness that can exist in an apartment even though only walls and floors separates us from others. The characters in the film will move in loops. Through these loops, along with music, sounds and voices, the film moves forward. The rhythm and its feeling will create a form, with a non-narrative structure. A moving painting.
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Galpin, Kennedy L. "DuIK Bassel in Usage in After Effects and an Animated Short Film". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/480.
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This thesis was made with the goal of creating a 2D short film in the end, with mainly using a program that is not normally used for character animation: Adobe After Effects. With the usage of an originally French plugin called DuIK Bassel (v16.0.9), I was able to create a model in Adobe Photoshop and then put it into After Effects. When the files were imported, the plugin would then assist in the rigging process, wherein I would be able to create the character’s rig and make the 2D model within the program. This document discusses the entire creation of the short film that I progressed through, from the storyboarding, character creation, rigging process, and putting the elements together.
Libros sobre el tema "Visual-arts film"
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Framing pictures: Film and the visual arts. Edinburgh: Edinburgh University Press, 2011.
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O'Rawe, Des y Mark Phelan, eds. Post-Conflict Performance, Film and Visual Arts. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43955-0.
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Higgins, Teri y Catherine Fowler. Epistolary Entanglements in Film, Media and the Visual Arts. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729666.
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This collection departs from the observation that online forms of communication—the email, blog, text message, tweet—are actually haunted by old epistolary forms: the letter and the diary. By examining the omnipresence of writing across a variety of media, the collection adds the category of Epistolary Screens to genres of self-expression, both literary (letters, diaries, auto-biographies) and screenic (romance dramas, intercultural cinema, essay films, artists’ videos and online media). The category Epistolary encapsulates an increasingly paradoxical relation between writing and the self: first, it describes selves that are written in graphic detail via letters, diaries, blogs, texts, emails and tweets; second, it acknowledges that absence complicates communication, bringing people together in an entangled rather than ordered way. The collection concerns itself with the changing visual/textual texture of screen media and examines what is at stake for our understanding of self-expression when it takes Epistolary forms.
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Watkins, Raymond. Late Bresson and the Visual Arts. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983649.
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The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's work through such allied visual arts practices as painting, photography, sculpture, theater, and dance.
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1939-, Ferguson Suzanne y Groseclose Barbara S, eds. Literature and the visual arts in contemporary society. Columbus: Ohio State University Press, 1985.
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Brown, Bruce. 10 artist fellows: An exhibition honoring the 2000 Maine Arts Commission individual artist fellowship recipients in visual arts, traditional craft & film. Rockport, ME: Center for Maine Contemporary Art, 2001.
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Gaggi, Silvio. From text to hypertext: Decentering the subject in fiction, film, the visual arts, and electronic media. Philadelphia: University of Pennsylvania Press, 1997.
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Ancient magic and the supernatural in the modern visual and performing arts. London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2015.
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Visualities: Perspectives on contemporary American Indian film and art. East Lansing: Michigan State University Press, 2011.
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Image studies: A practical approach. New York: Routledge, 2012.
Buscar texto completoCapítulos de libros sobre el tema "Visual-arts film"
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Carey, Chanda Laine. "Film and the Performance of Marina Abramovi´c". En Documenting The Visual Arts, 99–112. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-7.
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Gaal-Holmes, Patti. "Experimental Film and Other Visual Arts". En A History of 1970s Experimental Film, 66–97. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137369383_4.
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Parsons, Margaret y Marsha Gordon. "On the history (and future) of art documentaries and the film program at the National Gallery of Art". En Documenting The Visual Arts, 205–20. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-14.
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Kalra, Gurvinder, Dinesh Bhugra y Antonio Ventriglio. "Film, Mental Health and Therapy". En Psychotherapy, Literature and the Visual and Performing Arts, 53–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75423-9_4.
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O’Rawe, Des y Mark Phelan. "Introduction: Cities of Memory". En Post-Conflict Performance, Film and Visual Arts, 1–11. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43955-0_1.
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Devlin, Paul. "City of Culture/Memory: Derry-Londonderry, 2013". En Post-Conflict Performance, Film and Visual Arts, 169–92. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43955-0_10.
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Blair, Paula. "Panopticonicity: Sites of Control and the Failure of Forgetting in Willie Doherty’s Re-Run (2002) and Drive (2003)". En Post-Conflict Performance, Film and Visual Arts, 193–209. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43955-0_11.
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Taylor, Jane. "Inner Cities: William Kentridge and the Landscapes of Memory". En Post-Conflict Performance, Film and Visual Arts, 213–31. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43955-0_12.
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Carlson, Marvin. "The Tunisian Revolution and After in the Work of Jalila Baccar and Fadhel Jaïbi". En Post-Conflict Performance, Film and Visual Arts, 233–49. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43955-0_13.
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Borisenko, Laurel. "‘Dancing in the Dragon’s Jaws’: Community Response to Harare Theatre as a Tool of Peace-Building". En Post-Conflict Performance, Film and Visual Arts, 251–64. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43955-0_14.
Texto completoActas de conferencias sobre el tema "Visual-arts film"
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Clara Roberti, Ana, Helena Santos y Daniel Brandão. "Sobreiro: participation and intervention of local communities in the historical and artistic construction of a stigmatized neighborhood". En 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001879.
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This paper intends to discuss a collaborative initiative, carried out within the scope of a doctoral scientific research in the field of Arts and Design and an institution that supports socio-economically vulnerable communities. The work took place in the Sobreiro Social Housing, located in the city of Maia, in Portugal, home to more than 600 families. By using methodologies specific to arts and cultural studies, three main outputs were created: a documentary film, a photo exhibition, and a series of community forums that happen throughout 2018. The purpose of this participatory study was to tell the story of the neighborhood with the help of its first residents and to stimulate the young residents (between 13 and 16 years old) reflection on the present and the future of the community. The whole process was conducted through proximity to the local population and the neighborhood Community Center. This article presents and discusses the ethnographic repertoire gathered within this research, which includes oral and visual memory thanks to the direct participation of the residents in the research process, which valued their own perspective, creativity and points of view.
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Maloney, Peter V. "FILM AS DATABASE: A VISUAL ANALYSIS OF 2001:A SPACE ODYSSEY". En Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.18.
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Chen, Yugang. "Digital movie clothing with film clothing visual art representation". En 2016 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/essaeme-16.2016.49.
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Cao, Jinliang. "Study of the Film in the Visual Cultural Context". En 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.194.
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Sampaio, Valzeli. "Wish Mango Tree: hybrid experimentation and creation". En LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.109.
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This essay presents the process of creating the artistic project at augmented reality “Wish Mango Tree” is configured as a specific site / public intervention for installing in the georeferenced mango trees of the city of Belém a technological device for electronic labeling and the creation of a hollow steel plate at mango tree. This process involves experimentation and creation related to Visual Arts, Design and programming, experienced through a mobile application, being a physical hybrid intervention. “Wish Mango Tree” is inspired by the work “Wish Tree” , a series of art installations in process, started in 1981, by the Japanese artist, and member of the Fluxus group, Yoko Ono. She chooses a tree native to a place, or plants one under her guidance. The public is invited to tie a wish in writing and hang it on the tree. Yoko has already installed this work in some cities in the world. “Wish Mango Tree” proposes an action similar to the public and passers-by of the mango trees in Belém. The project promotes interaction between individuals: humans and mango trees. Digital content can be viewed in the augmented reality app at the site specific where mango leaf wishes can be accessed by anyone. “Mangueira Desejo” seeks to fill a gap or lack identified: the invisibility of mango trees, seeking to use technology to give visibility to a social and ecological problem. The political dimension of the project is revealed in giving visibility to the mango trees, activating the collective memory and provoking questions and commitments from the individuals involved: trees, people, and institutions. This artistic project aimed at experimentation and creation related to Visual Arts and Design, experienced through a mobile application. And evokes the affective memory of its participants, seeking to enhance, strengthen and maintain the identity and cultural memory of Pará through digital media. The project fits into the artistic and cultural area: Visual Arts, with the creation of proposals in the Visual Arts area, through the areas: installation, intervention mechanisms, specific site, urban art, digital art, new media, photography , being a hybrid proposal between art and digital design. In addition to addressing the experience of the visual arts in their technical, formal and conceptual reflections, of creation, diffusion, training and memory. In this sense, the project promotes creation, experimentation and design associated with a historical, social, cultural, sustainable and / or technological context, which can be translated into propositional actions that address graphic design, interactive media, web design/applications, design of games. The mango trees themselves are objects of public interest, the app invites everyone to “hang” their desires on the “Wish Mango Trees ”, promoting the transformation of the mango trees into a receptacle for the aspirations of the people who cross it. The app will promote remotely a network experience that triggers a physical experience in the main mango trees of the square, when approaching a mango tree to start the action, which will give visibility to the cloud of annotations at mango leaves through mobile app.
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Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic". En LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.
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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
Informes sobre el tema "Visual-arts film"
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan y Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, diciembre de 2020. http://dx.doi.org/10.5204/rep.eprints.136822.
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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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Kerrigan, Susan, Phillip McIntyre y Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.