Gotowe bibliografie tematyczne / Digital filmmaker

Gotowa bibliografia na temat „Digital filmmaker”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Digital filmmaker"

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Decker, Todd. "The Filmmaker as DJ". Journal of Musicology 34, nr 2 (2017): 281–317. http://dx.doi.org/10.1525/jm.2017.34.02.281.

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Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.
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Coover, Roderick, David Jhave Johnston i Scott Rettberg. "The Poetics of Combinatory Cinema: David Jhave Johnston interviews Roderick Coover and Scott Rettberg". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, nr 1 (15.12.2014): 108–29. http://dx.doi.org/10.7146/se.v4i1.20329.

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For the past several years filmmaker Roderick Coover and fiction writer Scott Rettberg have collaborated on a series of film and digital media projects that address climate change, environmental catastrophe, cross-cultural communication and combinatory poetics. Working between Philadelphia, USA, where Coover directs the graduate programme in Film and Media Arts at Temple University, and Bergen, Norway, where Rettberg is Professor of Digital Culture at the University of Bergen. Their projects, including The Last Volcano, Rats and Cats, Three Rails Live (with Nick Montfort) and Toxi•City, deal thematically with contemporary and past moments of environmental change and human loss, and formally with interdisciplinary practice and combinatory poetics. Coover and Rettberg were interviewed by digital poet and experimental filmmaker David Jhave Johnston, Assistant Professor in the School of Creative Media at City University of Hong Kong.
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Hanna, Fabiola, i Irene Lusztig. "Translating Interfaces in the Ms. Magazine Archive". Frames Cinema Journal 19 (18.02.2022): 210–25. http://dx.doi.org/10.15664/fcj.v19i0.2386.

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Yours in Sisterhood is an iterative, multimodal media project that includes a 2018 feature length performative documentary, produced and directed by filmmaker Irene Lusztig, and a digital archive co-created by Lusztig and digital media scholar-artist Fabiola Hanna that is currently in production. While the digital YiS archive is still a work in progress, we put forward our work on this large-scale interactive project as a case study for considering methodologies and practices of archival translation as we move from original paper documents in an interface of folders and boxes to video footage to a browser-based digital archive. These multiple YiS translations provide a compelling case study because of their significant shifts in interpretation: from the librarian’s interface work of cataloguing, preserving, and organising the letters in folders and boxes, to the filmmaker’s interface work of editing the video readings into the form of a documentary, and finally to the current collaborative interface work of designing the video database and its query system that populates the online project. Such critical and scholarly attention to the translation of archives at the interface level will facilitate analysis and assessment of the labour, the decisions, and losses and gains of these types of translations.
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Pisters, Patricia. "The Filmmaker as Metallurgist: Political Cinema and World Memory". Film-Philosophy 20, nr 1 (luty 2016): 149–67. http://dx.doi.org/10.3366/film.2016.0008.

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Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the (audio-visual) archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’
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Callens, Johan. "Anne-Marie Boisvert, Manon Oligny, and Thomas Israël: Three Artists in Search of Cindy Sherman". TDR/The Drama Review 54, nr 1 (marzec 2010): 39–58. http://dx.doi.org/10.1162/dram.2010.54.1.39.

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One dancer, one choreographer, one filmmaker. Together they recursively confront Sherman's by now famous, gender-inflected, photographic self-enactments, probing the conventions and lingering specificity, if any, of the media and art forms in our hybridized digital culture. In their intermedial performances, these media and art forms become the means and the objects of analysis.
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MacDonald, Scott. "Gentle Iconoclast: An Interview with David Gatten". Film Quarterly 61, nr 2 (2007): 36–44. http://dx.doi.org/10.1525/fq.2007.61.2.36.

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ABSTRACT Scott MacDonald talks with filmmaker David Gatten about his multi-film exploration of the life and times of colonial Virginian William Byrd II, Secret History of the Dividing Line, A True Account in Nine Parts, in which Gatten considers the development of print culture, the arrival of digital, and the material nature of cinema.
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Chamarette, Jenny. "Backdating the Crip Technoscience Manifesto". Film Quarterly 76, nr 2 (2022): 16–24. http://dx.doi.org/10.1525/fq.2022.76.2.16.

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This essay considers experimental filmmaker Stephen Dwoskin’s work as a lifelong process of technological activism and “knowing-making.” Using recent frameworks from Critical Disability Studies, Chamarette demonstrates how Dwoskin’s decades of activism parallel and in some cases pre-date the evolution of Disability Studies as it is currently situated. As an early adopter of digital and ‘cusp-of digital’ technologies (Hi-8 cameras, Mini-DV tapes, email, digital editing suites), Dwoskin’s creative work aligns with and backdates the “Crip Technoscience Manifesto” developed by Aimi Hamraie and Kelly Fritsch in 2019. Drawing on Dwoskin’s films and his archive, now housed at the University of Reading Special Collections (UK) Chamarette reframes Dwoskin’s late creative activity as tactics of technological adaptation, crip technoscience, and spheres of influence within digital and non-digital realms. These digital activisms ultimately give cause to reflect on the ambivalent, interdependent, friction-filled relationships between filmmaking, digitality and disability.
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Woodworth-Hou, Jason. "Reanimating the Master Narrative: How They Shall Not Grow Old Curates the Perception of Common Truth through CGI Animation". Animation 17, nr 3 (listopad 2022): 271–85. http://dx.doi.org/10.1177/17468477221131874.

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In 2014, the British Imperial War Museum (IWM) contracted New Zealand-based filmmaker, Peter Jackson, to use their audio and video archives to create a media-based memorial to the men who served in World War 1. The documentary film, They Shall Not Grow Old ( TSNGO), released in 2018, was the product of this collaboration. Jackson took on the project to better understand his own grandfather’s experience as a soldier at the Battle of the Somme. Weta Digital Studios, founded by Jackson, converted the standard WWI newsreel footage into a product that aligned to a modern audience’s perceptual sense of truth. Weta Digital redrew and colored each frame, a process that is strikingly similar to CGI animation. Curiously, Jackson, a filmmaker whose career has hinged on his ability to collaborate with CGI animators, does not describe his new historical film treatment as animation. This article first argues that TSNGO is following in the footsteps of previous CGI animated films, in particular those that have re-edited historical footage, but more importantly asks: why would Jackson prefer to keep the word ‘animation’ out of the discussion about his new historical documentary? The answer to this question leads us to a critical discussion about how animation has become both the preserver and ‘re-imaginer’ of existing historical archives.
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Oliva, Rodrigo, José Bidarra i Denize Araújo. "Video and storytelling in a digital world: interactions and narratives in videoclips". Comunicação e Sociedade 32 (29.12.2017): 459–76. http://dx.doi.org/10.17231/comsoc.32(2017).2772.

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This paper presents a study about narratives in music videos. It discusses the arrangements of audio-visual languages from settings established by characteristics of the media, emphasizing the role of platforms for the diffusion of information and entertainment such as YouTube. It highlights a dialogue within cinema’s own language and shows that, in contemporary scenarios, music videos actually tell stories. It is argued that contemporary music videos, in great majority, increase the duration of music, with pauses, performances of characters, insertion of dialogues and other structuring elements that are not typical of the classic and conventional paradigms of a language. For our purposes, the objects of this study are the music videos of Canadian filmmaker Xavier Dolan. The theoretical foundation is established through authors involved in debates around a culture of convergence, transmedia storytelling and interactions among the audio-visual languages.
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Hashim, Hasrul. "Techno-Creativity: The Implementation of DVFx as Creative Support Tools Among Filmmakers in Malaysia, India & Australia". Jurnal Komunikasi: Malaysian Journal of Communication 37, nr 1 (31.03.2021): 196–208. http://dx.doi.org/10.17576/jkmjc-2021-3701-11.

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Previously, the use of digital visual effects (DVFx) only serves merely to fix or modify the damage or harmful elements in the post-production. Still, there are differences between improving the work and the creative effects in work. Subtracting part of the image can often be seen as a form of creativity in generating new image elements. DVFx is also seen as a form of creative effects. It is a fascinating field of study on 'adverse impact' or 'creative impact' in film production. Creative impact in the production process of film is likely to lead to a new assessment on the aspects of 'creativity.' The occurrence of technological changes that involve creative work will undoubtedly lead to a shift in creativity. Technology and creativity or techno-creativity are likely to represent a new creative possibility and measurement in film production using creative software as a support tool. This paper discusses the findings derived from in-depth interviews conducted with filmmakers, visual effects artists and supervisors from Malaysia, India, and Australia on implementing DVFx as creative support tools. The finding shows that DVFx functions as a techno-creative device in two main areas: ideation and implementation. These two aspects involve using DVFx as a tool for transforming the ideas and the imagination of a filmmaker into a reality on the screen. In other words, DVFx has acted as creative support tools (CST) to increase techno-creativity, especially in the area of visual presentation. Keywords: Creativity, digital visual effects, creative support tools, media technology, globalization.
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Rozprawy doktorskie na temat "Digital filmmaker"

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Sealey, John Alexander. "Notions of identity : representation of the black subject and the filmmaker in digital cinema". Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/106661.

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This study will serve to question and explore the ways in which the black subject and the filmmaker can be constructed and represented in narrative and documentary film. The arguments that follow in this written section of the thesis will serve to illustrate and support the three film projects that together make up the PhD in Film by Practice. I will begin by exploring the relationship between the filmmaker with the theoretical and practical frameworks. Alongside this I will discuss the concepts inherent in the three films produced for the PhD. My approach to the above questions in my PhD by practice can be broadly summarised by three stages. The first stage in this approach will be to concentrate on isolating and analysing theories that have informed the three projects. The second stage will then reveal how these informed ideas have moved from one medium (the theoretical, word, text, still image) to another (the language of the moving image). Finally, I will relate the three PhD films to each other, aligning their relationships in terms aesthetics, form and content regarding the black subject. I will conclude by illustrating how these three films argue for new responses when considering representations of the black subject in cinema.
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Hardie, Harold Robert (Bob). "The documentary mind: In the subject of a practitioner’s perspective on changes in documentary concept and production". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1924.

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This autoethnographic study examines the influences of recent digital technology upon the practice and philosophy of documentary filmmaking. To assess the impact of new digital methodology on the film production process, The Musicians, a wholly-digital, 55-minute documentary film, was produced as an example. This music-based subject was chosen to specifically demonstrate the potential advantages of lightweight digital equipment and its extended recording capacity in orchestral documentation. The capability of non-linear digital editing to process large amounts of imagery, together with its ability to manage multiple image and audio streams concurrently, was also examined. This exegesis also reviews the impact of recently-emerged digital multimedia and multi-platform formats on perceptions of the more standard linear documentary format, all of which have been incorporated into a single documentary category by some researchers. For a traditional documentary such as The Musicians to be categorised with open-ended, multimedia constructions seems somewhat anomalous.
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Bengtsson, Simon, i Carl Nyholm. "Kortfilm - födkrok eller språngbräda? : En undersökning om de digitala plattformarnas påverkan på distributionen av svensk kortfilm". Thesis, Högskolan Väst, Avd för medier och design, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-12967.

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The intent of this paper is to examine the conditions for Swedish filmmakers with the short film format as final goal. Through a qualitative study we investigate what paths there are for distributing short films through the digital platforms available today. We do this by interviewing some of the most experienced and successful short film creators in Sweden and one of Sweden's main financier in film creation, to provide as just image of the branch as we can. Short films with financing from the state and regional financiers rarely has any focus on economic gain. They are rather intended to help form filmmakers and give them an opportunity to establish themselves prior to further filmmaking. The main digital platform in Sweden is SVT Play, witch is much based on the fact that SVT is part of sponsoring a big part of the government financed short films. The greatest problem we found is the availability for short films through digital platforms, since SVT Play most often has exclusive rights and only buy viewing rights during periods. When you want to distribute your short film, the most important aspect is the context, the film should not only appeal the audience it reaches but it also has to appeal the audience in the situation where it reaches them.
Vi undersöker förutsättningarna för filmskapare i Sverige med kortfilmsformatet som slutmål. I form av en kvalitativ studie tar vi reda på vilka vägar det finns för att distribuera sina kortfilmer med hjälp av dagens digitala plattformar och hur dessa nyttjas. Detta görs genom att intervjua några av Sveriges mest erfarna och framgångsrika kortfilmsskapare och en av Sveriges största finansiärer av filmskapande för att skapa en så korrekt bild av branschen som möjligt. Det kompletteras med en kvantitativ enkätundersökning ämnad att skapa en generell bild av svenskars konsumtion av statligt och regionalt finansierad kortfilm. Kortfilmer med statligt och regionalt stöd har sällan något fokus på ekonomisk vinning. De är snarare ämnade att forma filmskapare och ge dem en möjlighet att grunda inför fortsatt filmskapande. Den huvudsakliga digitala plattformen är SVT Play, på grund av att SVT är med och sponsrar en stor del av de statligt och regionalt finansierade kortfilmerna. Det största problemet vi funnit är tillgängligheten för kortfilmer på digitala plattformar, då SVT Play oftast har exklusiva rättigheter och bara har visningsrättigheter periodvis. Då man vill sprida sin kortfilm handlar det främst om kontexten, att filmen inte bara ska tilltala publiken den når utan också tilltala publiken i den situation publiken är i då den når den.
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Mak, Monica. "Digital cinematic technology and the democratization of independent cinema". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.

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This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.
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Albright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.

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Sonboli, Hassan. "Digital Docu-fiction: A Way to Produce Kurdish Cinema". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366037.

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This exegesis contextualises my feature-length film The Sultan and the Kings, a studio-based project produced for the Doctorate of Visual Arts. As a Kurdish émigré and filmmaker who left Iran in 1997, lived in Turkey for a couple of years, then emigrated to Australia in 2000, I studied film and also continued the filmmaking practice that I had begun in Iran in 1988. The exegesis examines the shortage of literature about Kurdish films, the misrepresentation of Kurdish filmmaking, the emergence of Kurdish cinema and the obstacles faced by it, as well as the emergence of Kurdish cinematic styles. By considering how my film relates to Kurdish cinema overall, what is referred to as the “cinema under oppression” and the “cinema of diaspora”, this exegesis examines the development of a form of storytelling that I term digital docu-fiction, which blends elements of documentary, fiction and digital film manipulation. Through this form of practice, Kurdish filmmakers aim to take control of the whole process of filmmaking, from production to exhibition. The exegesis discusses this form of storytelling with reference to the development of my own practice and aesthetic, using my short film A Woman with a Digital Camera as an example of digital docu-fiction.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of art
Arts, Education and Law
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Albright, Laura Beth. "2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.

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Craddolph, Hayden V. "Developing a community of independent fim/video producers to foster creation, marketing, and distribution of digital media". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Hayden Film Festival website, 2006. http://www.haydenfilms.com/.

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Thesis (M.S.)--Kutztown University of Pennsylvania, 2006.
Source: Masters Abstracts International, Volume: 45-06, page: 2805. Typescript. Abstract precedes thesis as 2 leaves (iii-iv). Includes bibliographical references (leaves 58-59).
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Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Książki na temat "Digital filmmaker"

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The visual effects arsenal: VFX solutions for the independent filmmaker. Burlington, MA: Focal Press, 2009.

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Ferncase, Richard K. QuickTime for filmmakers. Amsterdam: Focal Press, 2003.

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QuickTime for filmmakers. Burlington, MA: Focal, 2004.

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The IFILM digital video filmmaker's handbook. Hollywood, Calif: Lone Eagle Pub., 2001.

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Ascher, Steven. The Filmmaker's Handbook. New York: Penguin Group USA, Inc., 2008.

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Digital video production cookbook: [100 professional techniques for independent & amateur filmmakers]. Sebastopol, CA: O'Reilly Media, 2006.

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Digital Babylon: Hollywood, Indiewood & Dogme 95. Los Angeles: IFILM, 2001.

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Edward, Pincus, red. The filmmaker's handbook: A comprehensive guide for the digital age. Wyd. 2. New York, N.Y: Plume, 2007.

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Ascher, Steven. The filmmaker's handbook: A comprehensive guide for the digital age. New York, N.Y: Plume, 1999.

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Commando tactics for digital filmmakers: Creative production tips & strategies to make your next film or video shoot successful. United States]: Windsock Press, 2011.

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Części książek na temat "Digital filmmaker"

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Biswas, Moinak. "Learning with Images in the Digital Age". W The Education of the Filmmaker in Europe, Australia, and Asia, 189–206. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137070388_10.

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Goldsmith, Ben, i Tom O’Regan. "Beyond the Modular Film School: Australian Film and Television Schools and their Digital Transitions". W The Education of the Filmmaker in Europe, Australia, and Asia, 149–69. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137070388_8.

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Olson, Jenni, i Jiz Lee. "Curating Our Own Space: A Conversation on Online Queer Film Exhibition and Adult Queer Cinema". W Rethinking Film Festivals in the Pandemic Era and After, 177–92. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_9.

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AbstractThis chapter discusses various queer film festivals and their experimentations with online screenings. This interview was organized and moderated by Jenni Olson, an American film curator, filmmaker, author, and LGBT film historian who created one of the earliest online queer film festivals, PopcornQ, in 1994. In discussing past attempts at creating online queer festivals and the evolution of streaming technologies, this chapter provides a useful genealogical precedent to contemporary online festivals as they relate to shifting notions of the digital utopia.
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DeAngelo, Darcie. "A New Reflexive Turn: Glitches, Carbon Footprints, and Streaming Videos in Visual Anthropology". W Digitisation and Low-Carbon Energy Transitions, 99–113. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16708-9_6.

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AbstractThe global climate crisis demands an ethical account for the environmental costs of anthropology. Anthropologists who trouble the boundaries between art and anthropology often ignore the damage done by their mediums. Digital streaming accounts for one percent of global emissions. The increasing reliance on a nearly invisible media provokes a new reflexive turn. This chapter outlines reflexive media in anthropology and beyond. Following the call for ‘patchwork ethnography’ where ethnographers conduct slow fieldwork, glitchy visual anthropology can also decolonize the energy-consuming, anthropologist filmmaker as hero. There are multiple opportunities for visual anthropologists to conduct ethnographies of a new reflexive media—an anthropology that is not anti-aesthetic. Such a reflexive turn explores eco-conscious streaming as part and parcel of ethnographic art, method, and outcome.
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Caillé, Patricia. "Mapping the Circulation of Films by Women Filmmakers with Maghrebi Funding in the Digital Age". W The State of Post-Cinema, 71–86. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-52939-8_4.

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"Rise of the Independent Filmmaker". W Independent Filmmaking and Digital Convergence, 30–46. Routledge, 2016. http://dx.doi.org/10.4324/9781315675862-7.

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Vanstone, Gail. "‘Scriptrix Narrans’: Digital Documentary Storytelling’s Radical Potential". W Female Agency and Documentary Strategies. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419475.003.0005.

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Drawing on Agnès Varda’s feminised cinécriture, in tandem with works by the video-artist cum activist Sharon Daniel, the author studies Indigenous people’s voice making in different cultural media. In finding the auteur’s unique gaze missing in Inuit filmmaker Alethea Arnaquq-Baril’s work the author instead talks of an unbounded form of storytelling through the interactive documentary format and scriptrix narrans. This method, typical of female authorship, melds the filmed-filmer and the viewer, devoting less attention to the individual auteur.
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Corner, John. "Afterword: Getting Inside". W ReFocus: The Films of Barbara Kopple, 240–45. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0015.

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This Afterword provides an overview of Barbara Kopple’s career and documentary studies as a field. It considers Kopple’s working life as a filmmaker, specifically the tensions between independent and commercial production. It also considers the evolution of nonfiction filmmaking as a field, including Kopple’s role in the proliferation of documentaries in film, television, and digital platforms. Finally, it highlights Kopple’s key strategies as a filmmaker, specifically her uses of interviews.
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Balsom, Erika. "Bootlegging Experimental Film". W After Uniqueness, 81–105. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231176934.003.0004.

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This chapter explores the ambivalence of the copy by examining the impact of low-quality, unauthorized digital bootlegs on the domain of experimental film, an area of practice that has historically exhibited a strong investment in medium specificity and the moral rights of the filmmaker. I confront these issues through a case study of Josiah McElheny’s The Past Was A Mirage I’d Left Far Behind (2010), a year-long installation at the Whitechapel Gallery in London that consisted of copies of historical abstract films taken from UbuWeb – an online repository of low-definition files posted without permission of the filmmakers – and projected onto prismatic screens.
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Turquety, Benoît. "Photography and the Composite Image, or A Portrait of Méliès as Bergsonian Filmmaker". W Special Effects on the Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462980730_ch08.

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The prominence of Georges Méliès in the history of cinema is indelibly linked to his use of the ‘substitution trick’, often described as a forebear of editing. Yet Méliès also exploited a different sort of trick, one stemming from ‘recreational photography’: multiple exposures with a black background. While the tricks achieved with this technique have received less attention, they are no less crucial for two reasons. First, the technique pertains to what, for many theorists, has been conceived as an essential feature of photographic and cinematographic images, namely their synchronicity, or the fact that, as Henri Van Lier put it, “whatever the exposure time and the moment of impact of each particular photon, the arrival of all, in the end, is dated by the arrival of the last one.” Secondly, Méliès’s use of the black background enables us today to reassess a distinction that digital cinema has undermined, namely that between editing and compositing.
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Streszczenia konferencji na temat "Digital filmmaker"

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Temkin, Aron. "SEEING ARCHITECTURE WITH A FILMMAKER’S EYES". W ACADIA 2003: Connecting: Crossroads of Digital Discourse. ACADIA, 2003. http://dx.doi.org/10.52842/conf.acadia.2003.227.

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