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Статті в журналах з теми "Cinematography – Technological innovations"
Walia, Divya. "Life of Pi: A Visual Feast by Digital Cinema." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 5, no. 2 (December 3, 2016): 114. http://dx.doi.org/10.21013/jems.v5.n2.p6.
Повний текст джерелаSaikali, Lucas Bossoni. "Competence to regulate streaming in Brazil: an analysis of the roles of the Ministry of Science, Innovation, Technology and Communication, Anatel and Ancine." International Journal of Digital Law 2, no. 2 (August 15, 2021): 119–35. http://dx.doi.org/10.47975/ijdl.saikali.v.2.n.2.
Повний текст джерелаJavaid, Mohd, Ibrahim Haleem Khan, Ravi Pratap Singh, Shanay Rab, and Rajiv Suman. "Exploring contributions of drones towards Industry 4.0." Industrial Robot: the international journal of robotics research and application 49, no. 3 (November 30, 2021): 476–90. http://dx.doi.org/10.1108/ir-09-2021-0203.
Повний текст джерелаMartínez-Cano, Francisco-Julián. "Digital innovations in cinematographic practice at the early 21st century: the case of The Mandalorian." AVANCA | CINEMA, October 25, 2021, 497–501. http://dx.doi.org/10.37390/avancacinema.2021.a271.
Повний текст джерелаSantoli, Carlo. "Cabiria, opera d'arte autonoma." 7 | 2020, no. 1 (October 22, 2020). http://dx.doi.org/10.30687/ada/2421-292x/2020/01/007.
Повний текст джерелаIngrid Paoletti and Maria Pilar Vettori. "Heteronomy of architecture. Between hybridation and contamination of knowledge." TECHNE - Journal of Technology for Architecture and Environment, May 26, 2021, 16–20. http://dx.doi.org/10.36253/techne-11015.
Повний текст джерелаMichele Guerra. "Cinema as a form of composition." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 51–57. http://dx.doi.org/10.36253/techne-10979.
Повний текст джерелаДисертації з теми "Cinematography – Technological innovations"
Belintani, Júlia Ramiro. "Projecionistas de cinema na transição película / digital: diálogos entre um futuro desapegado e um passado que resiste." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21689.
Повний текст джерелаMade available in DSpace on 2018-12-05T11:47:25Z (GMT). No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) Previous issue date: 2018-10-26
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that also frighten because of the overlooked practices and knowledge that preceded them. Does the novelty replace what comes previously or simply overlap it? What does one gain and what does one lose in this process? Among several examples, I focused on a technological transition and a professional category that symbolized this lack of communication between the new and what precedes it; they mirrored each other. The film-to-digital transition in the cinema was also the projectionist - IT technician transition. What other transitions exist within this one? From film to digital. From the 35mm projector to the digital projector. From the projectionist to the IT technician. From the analog to the digital. From the photochemical film to the computer. From the touch to the virtual. From the physics and chemistry to the mathematics. The research has aimed to understand the film-to-digital transition from the point of view of the cinema projectionist. For that, semi-structured interviews were conducted with three professionals in the city of São Paulo, with similar years of experience and involvement with cinema, similar belonging and affection feelings. In addition, the narratives of two other professionals who worked in the 1950s have been added. These interviews were transcribed in full, sequentially organized in order to identify the themes and later analyzed through thematic maps. The results of the analysis were presented in a narrative form, composed by the direct inscription of the interviews, historical passages about the cinema and testimonies of other professionals of the area, as well as of intellectuals who dialogue with the research proposal. These different points of view have been structured in a narrative form in this dissertation, as a conversation. The research has been anchored in the constructivist approach of discursive practices and production of meanings in everyday life. The analysis pointed out to the intrinsic relationship between death and life in technology and in professional relationships, with emphasis on the importance of registration and of cultural memory
A pesquisa surgiu da inquietação diante de tecnologias que fascinam por suas facilidades e possibilidades e assustam pelo descaso com práticas e saberes que as precederam. O novo substitui o anterior ou apenas se sobrepõe a ele? O que se ganha, o que se perde nesse processo? Entre diversos exemplos, focalizei uma transição tecnológica e uma categoria profissional que simbolizavam essa falta de comunicação entre o novo e o precedente; espelhavam uma à outra. A transição película / digital no cinema era também a transição projecionista / técnico de TI. Quais outras transições existem dentro dessas? Da película para o digital. Do projetor 35mm para o projetor digital. Do projecionista para o técnico de TI. Do analógico para o digital. Do filme fotoquímico para o computador. Do tato ao virtual. Da física e da química para a matemática. A pesquisa teve por objetivo entender a transição película / digital do ponto de vista do projecionista de cinema. Para tanto, foram realizadas entrevistas semiestruturadas com três profissionais na cidade de São Paulo, com tempo de ofício e envolvimento semelhantes com o cinema, de pertencimento e afeto. Além disso, somaram-se às narrativas destes as de outros dois profissionais que atuaram nos anos 1950. As entrevistas foram transcritas na íntegra, organizadas sequencialmente para identificação dos temas e posteriormente analisadas por meio de mapas temáticos. Os resultados da análise foram apresentados de forma narrativa, compostos com a inscrição direta das entrevistas, passagens históricas sobre o cinema e depoimentos de outros profissionais da área, bem como de intelectuais que dialogam com a proposta da pesquisa. Esses diversos pontos de vista foram estruturados em narrativa nesta dissertação, como uma conversa. A pesquisa foi ancorada na abordagem construcionista de práticas discursivas e produção de sentidos no cotidiano. A análise apontou para a relação intrínseca entre morte e vida na tecnologia e nas relações profissionais, com ênfase na importância do registro e da memória cultural
Santos, Luís Carlos dos. "A luz como linguagem na fotografia do cinema. Aspectos de transparência cultural na representação artística da luz." Universidade Tecnológica Federal do Paraná, 2012. http://repositorio.utfpr.edu.br/jspui/handle/1/397.
Повний текст джерелаOur thesis introduces a new approach to the debate on the Representation of Light in Film photography. In addition to the current consensus that posits Film as language, we have strived to demonstrate that above all Light, and the manner in which it is used, is the main foundation of Film photography. Inasmuch as Film is a sociocultural activity, structured by historical, social, cultural, economic and technological forces, but in turn shapes and joins society’s structuring forces, one can infer the dialectics permeating the processes of production, reproduction, reception and diffusion of Light coded in Film. With a view to addressing the debate of Light as language, three guiding axes were established, from which we sought to determine the existing interdependence among representations, actions and the transparency coefficient of film photography which, in relating to one another, provide different degrees of intelligibility and contribute to the realization of the exchange among Film, people and the material nature of the world. In the first part of our thesis, titled Axis X – Referentiality, comprising the first two chapters, Light is approached from two points of view: the first one, from a broader perspective, introduces Light as an indissociable element of human life and of Culture; the second one aims to establish the relationship between the representation of Light in artistic pictures and Film photography. Visual historical references, arising from other art forms, especially painting and theater, form the visual basis, from which a large parte of photographic references and different uses of light in Film originate. Thus it can be said that Light in Film has its predecessors. In the second part, we addressed the so-called Axis Y – Action, developed in the third chapter. With the support of thinkers such as Max Weber, Hannah Arendt, Clifford Geertz, and those from Symbolic Interactionism, the focus of the debate fell upon the new element introduced by action, within the codified models dictated by culture. Action thus updates and brings dynamics to language. In the third and last part of the thesis, called Axis Z – Transparency, encompassing the fourth and fifth chapters, we sought to demonstrate how and why Referentiality and Action, in an articulated manner, influence, from a technical, material, meaning and sign construction standpoint, the representation of Light in Film. The concept of cultural transparency was coined and applied, in an attempt to define this interrelation. From a theoretical and methodological point of view, our thesis subscribes to the interpretative paradigm, which has an qualitative characteristic. In addition to the bibliographical references, and to online texts and articles, we made extensive use of images from different artistic languages, as well as produced photographic, film and video images, which became important sources for analysis within our thesis.
Franck, Gláucia. "Harmonia cromática em animações: a cor no contexto da tecnologia." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1182.
Повний текст джерелаEsta dissertação busca demonstrar a influência recíproca entre a arte e a tecnologia para além do artefato com o uso da cor na obtenção da harmonia cromática e do reforço perceptivo visual e cultural. Procuramos evidenciar como a arte se apropria da tecnologia na obtenção da harmonia pelo uso da cor no processo criativo. A arte, ao ser mediada pela tecnologia, desafia o artista a opor-se ao determinismo tecnológico que impõe resultados pela estandardização do uso de seus aparatos, superando seus limites na reinvenção de suas finalidades. Este trabalho tem como objetivo localizar a escolha e o uso das cores nos filmes de animação de curtas-metragens da Disney-Pixar como materialização de significados na construção de uma narrativa, evidenciando a oposição entre o contexto relacional e instrumental da tecnologia pela superação dos seus limites reinventados pelo próprio uso da cor de forma a reforçar os significados propostos por esta narrativa. Inicialmente apresentaremos pressupostos passíveis de localizar a tecnologia em suas dimensões conceituais partindo do eixo cor que atravessa todo o trabalho, daremos ênfase aos conceitos da teoria da cor essenciais para este entendimento, para que finalmente, munidos do referencial teórico, possamos analisar as imagens e concluir nossa pesquisa. Para realizar este trabalho de pesquisa de abordagem qualitativa realizamos a análise das imagens da amostra selecionada intencionalmente dentro de critérios específicos priorizando as imagens que denotavam as características predeterminadas.
This paper search is to demonstrate the reciprocal influence between art and technology in addition to the artifact through the use of color in obtaining the chromatic harmony and strengthening visual perceptual and cultural. We try to show how the art appropriates technology in obtaining harmony by using the color in the creative process. The art, to be mediated by technology, challenges the artist to oppose technological determinism that imposes results by standardization of the use of its gadgets, surpassing its limits in reinvention of their purposes. This work has as objective find the choices and the uses of color in the animation short films of Disney-Pixar’s as materialization of meanings in the construction of a narrative, highlighting the opposition between the relational context and instrumental of technology by overcoming its limits reinvented itself by using the color in order to reinforce the meanings offered by this narrative. Initially we will be presenting assumptions likely to find technology in their conceptual dimensions starting from the axis color that permeates throughout the work, the main focus will be on the concepts of the theory of color essential for to this understanding, and finally, armed with the theoretical framework, we will analyze the images and complete our survey. To carry out this research work in qualitative approach we performed the analysis of the images of the sample selected intentionally within specific criteria prioritizing images that suffered from the predetermined characteristics.
"The impact of digitalization on cinematic aesthetics and the "spectrum of cultural representation": the case of Hong Kong." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075224.
Повний текст джерелаThe findings generally support the advent of the ten new aesthetics of digital cinema as a global trend as well as a new glocalism in the Hong Kong cases. While most interviewed producers and audiences articulate the new characteristics of digital cinematic aesthetics, many audiences show disjunctive judgments toward those local filmmakers' treatments to cross-fertilize video game with their cinematic productions. This reveals the inevitability of internal modifications of organization cultures and representational practices to create new digital cinematic aesthetics and productions within new dynamics of digital media cultures and technologies in the fast changing media ecology. Hong Kong filmmakers and computer animators show their strength and flexibility to glocalize digital cinematic aesthetics and productions by integrating digital visual effects with local film and production cultures, especially in comedic and martial arts cinematic productions. However, it seems that there are larger discrepancies concerning the tastes and aesthetic judgments toward cultural representations in digital cinematic aesthetics by cross-fertilization with video game between general audiences and professionals. This study reflects that the rigid, director-oriented Hong Kong film production system is too demanding on the film director's independent ability of coordination and greatly influences the development of cultural representations in digital cinema by collective imaginative inputs of increasing complexity and flexibility. Producers and consumers of disparate repertoires of cultural practices contribute to the meaning construction of multiple layers of digital effects and computer animation by systematic coordination and collaboration. In other words, the "spectrum of cultural representations", as a framework, helps us understand the complexity and creativity of the new digital cinematic aesthetics from production to consumption practices.
This study is a multidimensional investigation of the moments of creativity and struggles over organization cultures and representational practices by both cultural producers and audiences. There are case studies of the general trend of digital cinematic productions in Hollywood and the specific development of digital cinema in Hong Kong, as well as in China. From these empirical analyses, ten new characteristics of digital cinematic aesthetics are generalized. They include (l) amplification, (2) free referencing, (3) seamlessness and believability, (4) multiple-layered composition, (5) patterning, (6) imaginary perspectives, (7) collective imaginative inputs, (8) cross-fertilization with comic, (9) cross-fertilization with video game, and (10) cross-cultural, cross-historical, cross-genre production. Such inductive findings are also deployed to study the social functions of both producers and audiences in the meaning construction of digital cinematic aesthetics and productions within the dynamics of digitalization and globalization. Eighteen in-depth interviews of production insiders, five focus groups of disparate generations of movie audiences and amateurs, and eleven case studies of Hong Kong digital cinematic productions have been examined. The empirical validity about the ten new forms of digital cinematic aesthetics and their production and consumption is investigated, and also achieved by intensive and interactive case studies, production studies and audience studies, combining textual and discourse analyses and production and reception analyses.
Lam, Sui Kwong Sunny.
Advisers: Anthony Y. H. Fung; Eric K. W. Ma.
Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 536-562).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
Книги з теми "Cinematography – Technological innovations"
Cinema e tecnologia: La rivoluzione digitale : dagli attori alla nuova stagione del 3D. Recco, Genova: Le mani, 2011.
Знайти повний текст джерелаGerosa, Mario. Cinema e tecnologia: La rivoluzione digitale : dagli attori alla nuova stagione del 3D. Recco, Genova: Le mani, 2011.
Знайти повний текст джерелаTechnologies of seeing: Photography, cinematography and television. London: British Film Institute, 1996.
Знайти повний текст джерелаHoffmann, Kay. Am Ende Video, Video am Ende?: Aspekte der Elektronisierung der Spielfilmproduktion. Berlin: Edition Sigma, 1990.
Знайти повний текст джерелаSvolte tecnologiche nel cinema italiano: Sonoro e colore, una felice relazione fra tecnica ed estetica. Roma: Carocci, 2006.
Знайти повний текст джерелаUnesco. Oficina Regional de Cultura para América Latina y el Caribe. and Festival Internacional del Nuevo Cine Latinoamericano (23rd : 2002 : Havana, Cuba?), eds. Cine, cultura y nuevas tecnologías. Habana: UNESCO, 2002.
Знайти повний текст джерелаNumérique et transesthétique. Villeneuve-d'Ascq, France: Presses Universitaires du Septentrion, 2012.
Знайти повний текст джерелаUnited States. Congress. Senate. Committee on the Judiciary. Subcommittee on Technology and the Law. Legal issues that arise when color is added to films originally produced, sold, and distributed in black and white: Hearing before the Subcommittee on Technology and the Law of the Committee on the Judiciary, United States Senate, One Hundredth Congress, first session on ... May 12, 1987. Washington: U.S. G.P.O., 1988.
Знайти повний текст джерелаCinéma(s) et nouvelles technologies: Continuités et ruptures créatives. Paris: L'Harmattan, 2011.
Знайти повний текст джерелаTrame digitali: Cinema e nuove tecnologie. Venezia: Marsilio, 2012.
Знайти повний текст джерелаЧастини книг з теми "Cinematography – Technological innovations"
Mathias, Nikita. "Cinema – A Medium of the Sublime?" In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch05.
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