Gotowe bibliografie tematyczne / Filmmaking

Gotowa bibliografia na temat „Filmmaking”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 27 lipca 2024

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Artykuły w czasopismach na temat "Filmmaking"

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Hemelryk Donald, Stephanie, Kaya Davies Hayon i Lucia Sorbera. "Refugee filmmaking". Alphaville: Journal of Film and Screen Media, nr 18 (1.12.2019): 3–11. http://dx.doi.org/10.33178/alpha.18.01.

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The origins of this issue of Alphaville lie in collaborations between the Forced Migration Research Network (UNSW – University of New South Wales) and the Refugee Council of Australia, and in the inspiration afforded us by international colleagues and guests to Sydney (Fadma Aït Mous), Liverpool (Dennis Del Favero) and Lincoln (Hoda Afshar) universities. We have benefited from these academic alliances and invitations, but we also embrace the widest notion of hospitality, whereby the moment of arrival, the request for assistance and shelter, and subsequent decisions over citizenship and long-term residency are located in a moral environment of welcome and mutual learning. We trace and acknowledge our intellectual relationships here in so far as they have allowed us to articulate an emerging and shared recognition that refugee lived experience stands as the barometer for political civility and social health in our time.
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Miller, William. "Filmmaking 101". College & Research Libraries News 61, nr 9 (1.10.2000): 777–80. http://dx.doi.org/10.5860/crln.61.9.777.

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Perini, Julie. "Relational Filmmaking". Afterimage 38, nr 4 (1.01.2011): 8–10. http://dx.doi.org/10.1525/aft.2011.38.4.8.

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Bloching, Max, i Abd Alrahman Dukmak. "Relational filmmaking". HAU: Journal of Ethnographic Theory 12, nr 3 (1.12.2022): 975–78. http://dx.doi.org/10.1086/724111.

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Aburghif, Hsham. "Ethics Reflexivity in Documentary Film (An i-doc as a model)". Academic Journal of Research and Scientific Publishing 4, nr 41 (5.09.2022): 28–40. http://dx.doi.org/10.52132/ajrsp.e.2022.41.2.

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This article highlights the ethics of documentary filmmaking. It focuses on filmmakers' task to consider these ethics based on the ethical philosophy of Emmanuel Levinas in exploring the dilemmas of representation in documentaries adopted by Nash (2011), who notes that stories and ethics always go hand in hand. Determining the ethics of regulating documentary filmmaking is not easy and has been controversial over time. It is possible to define the ethics of a filmmaker academically. However, in practice, the matter is different as conditions and reality are imposed on the filmmaker, which makes his experience and expertise different from the ethics of theoretical filmmaking. This paper aims to show how an increasing number of academic scholars and filmmakers' industry stakeholders working for one goal can help improve the arguments on documentary filmmaking ethics to capitalise in the subsequent films. The method is to review published reports and articles on the ethics in documentary film and reflexivity, further including observed data about the experiences of others to help understand the ethics that guide documentary filmmaking, including my experience as a filmmaker in producing the interactive documentary Eden Again (2017) as a model. The problem discussed in this paper relates to what kills the documentary: the conflict between professional ethics and ideological biases. Some agendas negate professionalism and credibility by promoting or seeking to serve particular interests that push those behind the film to hide the truth instead of being completely open to exploring the participants' matters and following filmmaking's ethics. Documentary filmmakers are recommended that if they have ideological biases and solid feelings or preconceived ideas, set them aside and ethically interact with the facts they encounter while working on a documentary.
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Schleser, Max. "Mobile Moving Image Culture & Smartphone Filmmaking Past, Present & Future". IMOVICCON Conference Proceeding 2, nr 1 (6.07.2021): 7–14. http://dx.doi.org/10.37312/imoviccon.v2i1.38.

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Over the last decade, smartphone filmmaking evolved from an underground and art house into an egalitarian filmmaking practice and moving-image culture. In an international context mobile, smartphone and pocket films can provide access to filmmaking tools and technologies for a new generation of filmmakers. Max Schleser will review the developments and directions in mobile, smartphone and pocket filmmaking through the International Mobile Innovation Screenings (www.mina.pro). During the last ten years, he curated the screening and smartphone film festival, which captures and celebrates smartphone films about communities and cities from around the world. Mobile, smartphone and pocket filmmaking expands the tradition of experimental filmmaking, expanded cinema and documentary making. Smartphone filmmaking facilitates experimentation. This presentation will outline how early mobile filmmaking aesthetics still resonate in contemporary smartphones films and documentaries that screen at major festivals such as Berlinale or Festival de Cannes. Furthermore, mobile moving image aesthetics now influence filmmaking more generally. As Creative Arts research in screen and digital media, Max Schleser’s research projects are also disseminated via non-traditional research outputs. He applies practice-led research to examine novel film forms and formats. His creative practice focuses on filmmaking and curation. Max Schleser has demonstrated how mobile media can drive social innovation in interdisciplinary research projects. To establish a conversation on mobile media's potential for transdisciplinary research, he co-edited Mobile Media Making in an Age of Smartphones and Mobile Story Making in an Age of Smartphones. His monograph, Smartphone Filmmaking: Theory & Practice will be published by Bloomsbury in September 2021.
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Holtmeier, Matthew, i Chelsea Wessels. "Filmmaking-in-Place". Afterimage 48, nr 1 (1.03.2021): 54–72. http://dx.doi.org/10.1525/aft.2021.48.1.54.

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In Meek’s Cutoff (2010) and Eden (2012), filmmakers Kelly Reichardt and Megan Griffiths (respectively) negotiate the interconnection between women, nature, and patriarchal capitalism through their emphasis on place, or one’s separation from it. Ecofeminist aesthetics resonate with regional production when directors emphasize relationships with environments and people over typical neoliberal concerns of production such as cost and infrastructure. A particular political aesthetics emerges when the approach emphasizes building community and the politics of place, rather than the bottom line. Reichardt’s Meek’s Cutoff shifts from the panoramic landscape shots of the classical Western to allow gendered engagement. This framing redirects the viewer away from the supposedly “male” action and instead focuses on the constant work of the women, which is the real action of survival. In Eden, Griffiths similarly frames human trafficking victim Hyun Jae in closed spaces where she is forced into sex work. Such cinematography is drastically juxtaposed with the open framing that signals potential emancipation. In each film, feminist politics intertwine with aesthetics of space to resist patriarchal capitalism co-opting women’s labor, an approach relevant to both environmentalism and feminism.
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Moderbacher, Christine. "Filmmaking for Fieldwork". Visual Anthropology 35, nr 3 (27.05.2022): 312–13. http://dx.doi.org/10.1080/08949468.2022.2094190.

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Wu, Wenguang, i Cathryn Clayton. "DV: Individual Filmmaking". Cinema Journal 46, nr 1 (2006): 136–40. http://dx.doi.org/10.1353/cj.2007.0007.

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Jutta Brückner i Jeanette Clausen. "On Autobiographical Filmmaking". Women in German Yearbook: Feminist Studies in German Literature & Culture 11, nr 1 (1995): 1–12. http://dx.doi.org/10.1353/wgy.1995.0027.

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Rozprawy doktorskie na temat "Filmmaking"

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Hilliard, James Patrick. "The elements of filmmaking". CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3014.

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Presents an educational multimedia development project created to teach novice learners about the various elements of the film making process. The multimedia web site designed for this project was created using Macromedia Flash 8. The process involved surveying people to determine learner needs and alpha and beta testing the final project to gather data regarding functionality and learner satisfaction.
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Shetti, Vishwanand Venkatesh. "Developing visual associations through filmmaking". Texas A&M University, 2008. http://hdl.handle.net/1969.1/86070.

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Associations are embedded in many aspects of filmmaking. It is this artist's goal to analyze visual associations in the process and product of an original narrative video piece called Discretion. Character relationships and plot structure are examples of nonconcrete visuals developed in preproduction. Family trees and plot diagrams provide a structural map for the film and are helpful tools to communicate with the cast and crew. Art direction and wardrobe are examples of concrete visuals developed during production. For example, wardrobe with certain colors may be assigned to each character in the film. Editing and compositing allow further development in the postproduction phase. Juxtaposing scenes and imagery results in a more complex web of connections for the viewer to discover. In effect, this thesis is meant to explore the filmmaking process with a special emphasis given to visual associations. In this discussion, the video will be referred to as a film to relate concepts to other films and to the filmmaking process. However, it is important to note that interchanging these words is a common practice that is not acceptable in many industry settings.
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Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.

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Markus, Richard. "Washington, D.C. Center for Filmmaking". Thesis, Virginia Polytechnic Institute and State University, 1993. http://hdl.handle.net/10919/52132.

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The Washington, D.C. Center for Filmmaking is placed in the middle of a growing area of different uses, on the block bordered by 8th, 9th G and H streets. Across G street, the old Patent Office now houses the national Museum of American Art and the National Portrait Gallery. Churches, schools, and other buildings for study exist in the blocks directly surrounding the proposed buildings and the Martin Luther King Library. The Washington Convention Center and Techworld allow space for large exhibitions and trade shows. Also, office space and the shops and restaurants of Chinatown are just one block east. Access to the site by Metro is across G street at the Gallery Pace Metro stop. The Center for Filmmaking addresses the street with commercial store-fronts of shops or restaurants, accessible from the street as well as from the interior gathering space. The building attempts to embrace the framework of the city openly. The main entry into the gathering space is off the major street of the site, 9th Street. Service access is off of the least traveled street, 8th Street.
Master of Architecture
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Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.

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Devereux, Anne Catherine. "A triangular approach to science filmmaking". Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/devereux/DevereuxA0510.pdf.

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The discipline of film studies is often limited by its own obsessions. Approaches designed to illuminate how we view films, and make films, often limit our thinking, instead. It is not surprising that the analysis of such an extraordinary medium presents endless arguments, debate and inspires the critic or theorist to narrow the field of view in order to make it manageable. Recent work in the fields of cognitive psychology and neuroscience which, when applied to our critical analyses of film, is changing the discipline of film studies. In conjunction with traditional narratology, this interdisciplinary approach enables us to reconfigure the relationship between narrative and spectacle, creating a triangular relationship that draws attention to discourse. This triangular approach affords a more nuanced and comprehensive analysis of how science documentaries affect viewers. In turn, these analyses encourage science filmmakers to recognize discourse as a means of creating more emotionally powerful, aesthetically coherent, and memorable science films. Like a great mind, the discipline of film studies flourishes most when it remains open. The creation of this triangular analytical relationship is merely one way of enhancing our ability to study the effects films have on an audience, on the future of the medium, and on aesthetics as a whole. In seeking an academic and theoretical basis for the gut level notion that films affect us both emotionally and intellectually, it is critical to chart an interdisciplinary course.
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Sutton, Jason. "Re-imaging a Career in Filmmaking". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6026.

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The purpose of this project was to learn every aspect of the film business, and to do so within the guidelines of an ultra-low budget digital format. This meanty creating a project that could be written, produced, and directed all for fewer than fifty thousand dollars. All of the money had to be raised by me as well. The process began day one in the classroom, learning every step of the way.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Hiemenz, Vanessa Serrao. "Reflexive filmmaking for wildlife and nature films". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/hiemenz/HiemenzV0809.pdf.

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Historically, wildlife and nature filmmakers have embraced the expository mode of filmmaking and a realistic style, attempting to influence their audience with compelling arguments. However, while their scripts may call for activism, their expository, realistic style, with hidden production methods, an authoritative tone, and pristine visuals, instead encourages voyeurism. In addition, standard theater and television distribution methods offer no outlet for action to viewers who do feel inspired. I offer a different model for influence in my wildlife series Nature Break: reflexive filmmaking. In this series I use such reflexive strategies to critique the voyeuristic way in which spectators consume wildlife and nature films. However, critiquing passive spectators with reflexivity is not the same as creating active spectators. Therefore, with Nature Break I go beyond simply making and distributing a film. Additionally, I will create a related website on the Internet as a platform for viewers to post their own films, discuss issues inspired by films on the site, and coordinate activism efforts. Through Internet distribution, the Nature Break series can finally live up to the reflexive filmmaker's goal of creating an art that leads to activism.
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Косташ, Дмитро Олександрович. "How game industry will change filmmaking forever". Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15312.

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Vandenberg, Cody J. "MINUTEMAN: THE CREATIVE PROCESS OF SHORT FILMMAKING". Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340303337.

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Książki na temat "Filmmaking"

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Filmmaking. Berkeley, Calif: Pantograph Press, 1992.

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On filmmaking. Boston: Focal Press, 1986.

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Romero-Fresco, Pablo. Accessible Filmmaking. London; New York, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429053771.

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Bloedow, Jerry. Filmmaking foundations. Boston, Mass: Focal, 1991.

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Bloedow, Jerry. Filmmaking foundations. Boston: Focal Press, 1991.

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Charleson, Diane. Filmmaking as Research. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24635-8.

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Brill, Lesley. John Huston's Filmmaking. Cambridge: Cambridge University Press, 1997.

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Adventures in filmmaking. Mississauga, Canada: Pinewood Independent Pub., 2013.

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1958-, Gaspard John, red. Digital filmmaking 101. Studio City, CA: Michael Wiese Productions, 2001.

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Stoller, Bryan Michael. Filmmaking for dummies. Wyd. 2. Hoboken, N.J: Wiley, 2009.

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Części książek na temat "Filmmaking"

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Pietroszek, Krzysztof. "Volumetric Filmmaking". W Encyclopedia of Computer Graphics and Games, 1–8. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-08234-9_391-1.

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Pietroszek, Krzysztof. "Volumetric Filmmaking". W Encyclopedia of Computer Graphics and Games, 2088–95. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-23161-2_391.

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Benshoff, Harry M. "Blaxploitation filmmaking". W The Routledge Companion to Cult Cinema, 131–38. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-17.

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Romero-Fresco, Pablo. "Accessible Filmmaking". W The Palgrave Handbook of Audiovisual Translation and Media Accessibility, 545–66. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42105-2_27.

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Chisolm, Richard. "Relational Filmmaking". W Documentary Vision, 32–34. New York: Focal Press, 2023. http://dx.doi.org/10.4324/9781003399636-10.

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Westmoreland, Mark R. "Documentary filmmaking". W The Routledge Encyclopedia of Citizen Media, 146–52. London: Routledge, 2020. http://dx.doi.org/10.4324/9781315619811-25.

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Mahdi, Waleed F. "Filmmaking shadows". W Routledge Handbook on Arab Cinema, 312–23. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003302025-29.

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Pagel, J. F., i Philip Kirshtein. "Filmmaking". W Machine Dreaming and Consciousness, 93–112. Elsevier, 2017. http://dx.doi.org/10.1016/b978-0-12-803720-1.00007-4.

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"From Filmmaking To Digital Filmmaking". W Digital Filmmaking, 27–41. Routledge, 2013. http://dx.doi.org/10.4324/9780080504407-9.

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Tomaric, Jason J. "The Script". W Filmmaking, 5–45. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-240-81700-2.00001-2.

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Streszczenia konferencji na temat "Filmmaking"

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Douglass, Mike. "FILMMAKING FOR RESPONSIBLE MARKETING". W Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.02.07.02.

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Coney, Shun, i Yasunobu Ito. "The role of nonhuman actors in contributing to filmmaking solidarity: Ethnography of independent filmmaking in Japan". W 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003115.

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The purpose of this paper is to clarify how nonhuman actors contribute to solidarity in independent new film production. Specifically, it examines independent new film productions from a relationalist perspective, using actor-network-theory (ANT), which considers humans and nonhumans as equivalent actors and analyzes phenomena based on their interactions with each other. The research method used was ethnography with a focus on participant observation. One of the authors, a filmmaker and researcher, observed the inner workings of the filmmaking activity, while the other author observed the observer from an anthropologist’s perspective. In a previous paper, we found from the process of translation that the two nonhuman actors of the film’s original story and funding are inextricably linked, and the agency of the human actors surrounding them interacts with and transforms the nonhuman actors (Coney and Ito, 2021). In the present study, we analyzed the interaction with the solidarity among human actors in the process of film production by closely following the linkage of nonhuman actors such as provisional publicity materials, in addition to funds and scripts. In the process of filmmaking, the nonhuman actors often encounter unforeseen circumstances such as budget adjustments and filming postponement, but despite the setbacks, the nonhuman actors form a network in which they accept each other’s roles, and filmmaking is promoted by solidarity as human actors of the film become more interdependent through the agency working as an inclusive collective. The results of the study revealed that the human actors in film are interdependent and that their solidarity promotes filmmaking.
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Davis, Nicholas, Boyang Li, Brian O'Neill, Mark Riedl i Michael Nitsche. "Distributed creative cognition in digital filmmaking". W the 8th ACM conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2069618.2069654.

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Davis, Nicholas, Alexander Zook, Brian O'Neill, Brandon Headrick, Mark Riedl, Ashton Grosz i Michael Nitsche. "Creativity support for novice digital filmmaking". W CHI '13: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2470654.2470747.

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Sharma, Richa, i Smita Ghaisas. "About Auteuring Requirements - Lessons from Filmmaking". W 2018 1st International Workshop on Learning from other Disciplines for Requirements Engineering (D4RE). IEEE, 2018. http://dx.doi.org/10.1109/d4re.2018.00012.

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Liu, Rona, Mahyar Abousaeedi, Bill Sheffler, Patty Kihm, Jonathan Pytko, Eric Andraos, Jacob Brooks i Danielle Feinberg. "Filmmaking Fever Dream: Crafting "Turning Red"". W SIGGRAPH '22 Production Sessions: ACM SIGGRAPH 2022 Production Sessions. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3512749.3517342.

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Ramasamy, Celambarasan, Donald H. House, Andrew T. Duchowski i Brian Daugherty. "Using eye tracking to analyze stereoscopic filmmaking". W SIGGRAPH '09: Posters. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1599301.1599329.

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Prunier, Jean-Colas, Armelle Bauer, Yvain Raeymaekers i Stephane Tayeb. "The power of real-time collaborative filmmaking". W ACM SIGGRAPH 2018 Real-Time Live! New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3229227.3229234.

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Fei, Guangzheng, i Dake Liu. "TAPE: Tangible Augmented Previz Environment for Filmmaking". W CHCHI 2023: Chinese CHI 2023. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3629606.3629629.

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ElShafie, Sara J., Austin Madison i Jean-Philippe Vine. "STORY ART TECHNIQUES FROM FILMMAKING ENHANCE SCIENCE COMMUNICATION". W GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-287756.

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