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Статті в журналах з теми "Creative cinematic practice"
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Markova, Lora, and Roger Shannon. "Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film." Arts 8, no. 1 (January 10, 2019): 11. http://dx.doi.org/10.3390/arts8010011.
Повний текст джерелаАнотація:
This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary works that often mix autobiographical and fictional motifs. Moreover, it is argued that Carrington’s cinematic mediations employ the recurring Surrealist tropes of anti-Catholic and anti-bourgeois satire. The article also investigates Carrington’s creative approach towards art directing and costume design, expressed in the Surrealist horror film The Mansion of Madness (Juan López Moctezuma 1973). The analysis examines the intermedial connections between Carrington’s practice of cinematic set design and her earlier experiments with theatrical scenography. Overall, this study aims to reveal undiscovered aspects of Leonora Carrington’s artistic identity and her transdisciplinary oeuvre.
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Chattopadhyay, Budhaditya. "The cinematic soundscape: conceptualising the use of sound in Indian films." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 2 (December 31, 2012): 65–78. http://dx.doi.org/10.7146/se.v2i2.6398.
Повний текст джерелаАнотація:
This article examines the trajectories of sound practice in Indian cinema and conceptualises the use of sound since the advent of talkies. By studying and analysing a number of sound- films from different technological phases of direct recording, magnetic recording and present- day digital recording, the article proposes three corresponding models that are developed on the basis of observations on the use of sound in Indian cinema. These models take their point of departure in specific phases of technological transitions and intend to highlight characteristics defining the sound aesthetics that emerges from these different phases of sound practice. The models furthermore seek to frame the aesthetics within theoretical frameworks of sound studies in general. The argument developed following the observations is that, through different phases of cinematic sound practice, Indian films have been primarily shifting the relationship between audio and visual from a merely vococentric contract to a creative realm of sound, in which audience engagement with the moving image is increasingly instigated by the spatial reordering of environmental sound or ambience. I term this arrangement of sound ‘The Cinematic Soundscape’, which is crafted by digital technologies such as ‘sync’ recording and multi-track sound design, emphasising a cognitive theoretical premise in cinematic sound studies.
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Cahill, James Leo. "Forgetting Lessons: Jean Painlevé’s Cinematic Gay Science." Journal of Visual Culture 11, no. 3 (December 2012): 258–87. http://dx.doi.org/10.1177/1470412912455616.
Повний текст джерелаАнотація:
The French scientific and documentary filmmaker and para-Surrealist Jean Painlevé (1902−1989) established his reputation as the author of over 200 films, as well as an accomplished film programmer and activist. During the 1930s he made a series of critically ambivalent remarks about the pedagogical vocation of documentary films, describing film’s primary function in the classroom as causing spectators to ‘forget’ or ‘unlearn’ their lessons and expressing the desire to contribute to the total abolition of secondary education. Reflecting upon the relationship between Painlevé’s often overlooked pedagogical interventions and his films (particularly the documentaries Sea Urchins, 1929, and The Seahorse, 1935), this article develops a reading of the scientific documentary’s ‘forgetting function’ as part of an elaboration of a cinematic ‘gay science’: a film practice and theory regarding the epistemological and pedagogical stakes of documentary through both critical negation and an ethos of committed, creative experimentation.
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Burch, Paul W. "Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis." Film-Philosophy 26, no. 2 (June 2022): 242–66. http://dx.doi.org/10.3366/film.2022.0197.
Повний текст джерелаАнотація:
I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, to demonstrate how Malick's creative process consistently tends towards an ethos of poverty. To further pattern and illuminate the ecological stakes of this Emersonian stance, I draw on the complementary framework of second-order systems theory, and in particular, on Niklas Luhmann's concept of simultaneity. In so doing, I outline the layered nature of Malick's cinematic praxis – a doubled Emersonian receptivity which not only invites defamiliarizing depictions of warfare and the nonhuman, but also welcomes, and toys with, the otherness haunting technical images and human cognition. As such, The Thin Red Line, and its immediate counterparts, perform the ecological work of reframing the conditions of wonder, asking us to marvel not at what we have seen, but what we haven’t.
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Horbolis, Larysa, Olena Ishchenko, Anatoliy Novykov, Dmytro Marieiev, and Nataliya Hrychanyk. "The Cinemapoetics of the modern Ukrainian novel: Myroslav Dochynets’ creative works." Revista Amazonia Investiga 10, no. 48 (December 30, 2021): 209–17. http://dx.doi.org/10.34069/ai/2021.48.12.22.
Повний текст джерелаАнотація:
The article presents a review of the Ukrainian literary critics’ works on the relationship between literature and cinema, the relevance and effectiveness of the practice of involving cinematic resources in the literary works of Ukrainian writers of the 20th – early 21st centuries. On the material of the novels “Centenarian. Confession on the Pass of the Spirit”, “Svitovan. Studies under the Tent of the Skies”, “Well-Digger. Diary of the Richest Resident of Mukachevo Dominion”, “Highlander. Waters of Our Lord’s Riverbeds”, “Maftei. Book Written with a Dry Pen” by the contemporary Ukrainian writer M. Dochynets traces the problem of inter-artistic interaction of literature and cinema. The purpose of the research is to single out and analyze film frame, montage, shot, perspective, rhythm as integral elements of the cinematic poetics of M. Dochynets ’prose, which are used in the text to reveal the artistic, aesthetic, philosophical and creative principles of the writer. The study used general scientific (analysis, synthesis, comparison) and literary methods: the systematic approach, hermeneutic method, principles of narratology, intermedia approach. Appealing to the works of O. Chicherin, S. Eisenstein, Yu. Lotman, M. Romm, A. Tarkovsky, etc., the peculiarities of the use of film poetics in the writer’s novels are analyzed. It was found out that in prose by M. Dochynets montage, film frame, shot, rhythm, foreshortening perform intonation-expressive, plot-compositional and characterological functions.
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Pick, Anat, and Chris Dymond. "Permacinema." Philosophies 7, no. 6 (October 27, 2022): 122. http://dx.doi.org/10.3390/philosophies7060122.
Повний текст джерелаАнотація:
This article charts the contiguity of farming and film, blending permaculture and cinema to advance a modality of sustainable film theory and practice we call “permacinema.” As an alternative approach to looking and labour, permaculture exhibits a suite of cinematic concerns, and offers a model for cinematic creativity that is environmentally accountable and sensitive to multispecies entanglements. Through the peaceable gestures of cultivation and restraint, permacinema proposes an ecologically attentive philosophy of moving images in accordance with permaculture’s three ethics: care of earth, care of people, and fair share. We focus on work by Indigenous artists in which plants are encountered not only as raw material or as aesthetic resource but as ingenious agents and insightful teachers whose pedagogical and creative inputs are welcomed into the filmmaking process. By integrating Indigenous epistemologies and cosmologies we hope to situate permacinema in the wider project of cinema’s decolonization and rewilding.
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Goldson, Annie. "Journalism Plus? The resurgence of creative documentary." Pacific Journalism Review 21, no. 2 (October 31, 2015): 86. http://dx.doi.org/10.24135/pjr.v21i2.120.
Повний текст джерелаАнотація:
Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by television’s shift to reality programming, are prepared to pay for theatre tickets, while online subscription services such as Netflix and Amazon now stream and fund high-quality documentary. Increasing numbers of filmmakers are self-distributing their works online. A significant percentage of these films, freed from the constraints of broadcast television, take up political challenges because, as Michael Chanan says, documentary has ‘politics in its genes’ (2008, p. 16). In fact, as mainstream news and current affairs becomes increasingly tabloid, it could be argued that documentary is assuming the role of investigative journalism or, to use Laura Poitras’ description, documentary functions as ‘Journalism Plus’. This article, at times drawing on my own film practice, attempts to explore these shifts and developments, locating documentary at a time of institutional transformation.Image: He Toki Huna: SAS Quick Reaction Force in Kabul post a suicide bombing in February 2010. Photo by Lionel de Coninck
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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO." Culture Crossroads 10 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.
Повний текст джерелаАнотація:
The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film’s production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi (“Two”, 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi (“Breathe Deeply”, 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē (“Apple in the River”, 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.
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Sabatino, Anna Chiara. "Audiovisual Means to Therapeutic Ends. The Cinematic Dispositive within Medical Humanities." Cinéma & Cie. Film and Media Studies Journal 22, no. 39 (January 24, 2023): 53–68. http://dx.doi.org/10.54103/2036-461x/17748.
Повний текст джерелаАнотація:
Dominant narratives across Medical Humanities have been focused on the cultural construction of the notion of medicine as epistemic discourse and social practice, on the role of humanities in medical design of the disease as well as on the humanization of the clinical encounter in order to facilitate the anamnesis, the therapy and the care. Among the main declinations, a more complex point of view arises, suggesting the critical integration and exploitation of a variety of methodologies, previously used by art and humanities research, into a peculiar human-centered dispositive, both narrative and therapeutic, in which audiovisual practices and languages acquire new healing potential and activate bias for unprecedented processes of subjectivization for particular target of suffering human beings. Based on the aforementioned premises, the essay aims at investigating the therapeutic set as performative and methodological model, consistent with art-therapy and narrative-based medical approaches, applicable in specific pathological conditions and health-care contexts. Within such reflexive and operational framework including documentary studies and visual anthropology, self-representational and amateur theories, the therapeutic set becomes a media environment where the formative encounter, both technical and pragmatic, finally ethical, between the self and the world, the action and the awareness takes place. My purpose is to explore the theoretical pillars of the therapeutic set as transformative interplay between profaned cinematic dispositive and psychotherapy setting, dwelling on bodily involvement, audiovisual gestures and amateur self representation to which active participants, storytellers of their own illness and treatment, are called in the making of therapy and narrative. The paper finally intends to illustrate selected interdisciplinary case studies in order to discuss the healing potential of creative participatory processes and self-representations, occurring thanks to the relocation and amateurization of the contemporary cinematic experience.
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Golding, Dan. "The memory of perfection: Digital faces and nostalgic franchise cinema." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 28, 2021): 855–67. http://dx.doi.org/10.1177/13548565211029406.
Повний текст джерелаАнотація:
This article is concerned with the intersection of digitally augmented performance and nostalgia in contemporary Hollywood franchise cinema. The practice of ‘de-ageing’ or even resurrecting actors following their real-life deaths in films like Tron: Legacy (Joseph Kosinski, 2010), Terminator Genysis (Alan Taylor, 2015), Rogue One (Gareth Edwards, 2016), Blade Runner 2049 (Denis Villeneuve, 2017), Star Wars: The Rise of Skywalker (J.J. Abrams, 2019), and a large number of Marvel Cinematic Universe films, is now commonplace. Though such digital faces are primarily still found in franchise cinema, some exceptions ( The Irishman, Martin Scorsese, 2019; Gemini Man, Ang Lee, 2019) are telling in their franchise-like appeals to cinematic nostalgia. In particular, the digital face is most commonly aligned with the ‘legacy film’ (Golding, 2019), resurrected franchises interested in transferring franchise protagonists, themes and fandom across generations. The digital face therefore is an expression of the convergence of the digital with film, with the franchise, with the past and with memory. For these films, memory and nostalgia are meticulous exercises involving thousands of work hours of highly skilled CGI workers and cutting-edge technology. These highly technical, virtuosic digital faces are quite literally the face of this kind of nostalgia, and as Ndalianis observes, position the face ‘as façade that opens up a time-travel passageway between past and present’, inviting a seam-spotting game between audience and filmmaker (2014). Even if the digital face is perfect in its recreation, the audience’s knowledge of the impossibility of the performance leaves a trace of artistry. Accordingly, digital faces are creative, technical and financial decisions above all. This article outlines the uses of the digital face for memory, nostalgia and seriality in contemporary Hollywood franchise cinema, with a focus on representation and death.
Дисертації з теми "Creative cinematic practice"
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Kubitzek, Barbara. "Cognition and Emotion in Cinematic Virtual Reality : What are the challenges in production to creating an emotional response?" Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71319.
Повний текст джерелаАнотація:
This thesis focuses on the challenges in production to create a live-action cinematic virtual reality film that aims to trigger a certain emotional response in the viewer. Cinematic virtual reality (CVR) is the term referred to throughout this thesis that has been used by Mateer (2017) in his paper. However, the definition of CVR will differ to some extent from Mateers ́ (2017) and reasons for it will be provided. Firstly, the techniques employed in the production of the cinematic virtual reality film that may elicit an emotional response and character engagement are taken from the theory of cognition and emotion in film by Smith, M. (1995) Engaging Characters: Fiction, Emotion and Cinema and David Bordwell ́s Narration and the Fiction Film (1985). The theoretical framework has been applied to an analysis of a Pixar-style animated CVR film called Invasion! (2016) in order to extract guiding principles that have informed the making of my own CVR film. The importance of creating presence through immersion is highlighted as necessary in sustaining engagement and evoking emotions (Ding et al., 2018). An emotional response of entrapment, fear, insecurity and wonder is desired to be elicited by watching my CVR film. As well, emotional engagement with the character in the CVR film is aimed for to enhance the emotional response. Sound and visual cues are used that may serve to facilitate directing the viewer through the story as mentioned by Mateer (2017). Techniques identified that may create an emotional response are direct address, spatial proximity and orientation. The production of my CVR film has been informed by these techniques, however, challenges in production may have weakened the outcome such as the difficulties in monitoring the shoot resulting in problems adjusting lighting, directing the actress and avoiding object distortion on stitching lines. Furthermore, on set sound recording has been a major challenge. My CVR film is evaluated according to these challenges and possible solutions for improvement are offered. Cinematic Virtual Reality is a medium that offers new ways for storytelling and experiences. My CVR film places the viewer in the imaginary position of a fairy thus offering a perspective of the world and connected emotions that go beyond the possible experiences in everyday life. The aim is to contribute to a deepened understanding of cinematic virtual reality filmmaking by presenting some of the techniques and production challenges of creating an emotionally compelling CVR film experience.
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Donachie, Jacqueline. "Illuminating loss : a study of the capacity for artistic practice to shape research and care in the field of inherited genetic illness." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/34447/.
Повний текст джерелаАнотація:
Contemporary art is seen as an effective way of communicating complicated science to a range of lay audiences, particularly in the context of medical research. This is the premise of ‘sciart’. However this rationale can limit the cultural significance of artworks by overstating their illustrative capacity, an outcome that severely reduces the creative endeavour of the artist. Based on the first-hand experience of an artist whose career has engaged with the opportunities afforded by ‘sciart’, this study seeks to address the illustration problem by exploring new methods of working across art and science that challenge representations of the inherited neuromuscular disorder myotonic dystrophy, a condition which affects one in 8000 adults in the UK. Hazel, a film made by the artist with the participation of eleven women affected by the condition, is placed at the centre of this as a case study. Pioneering work with the UK Myotonic Dystrophy Patient Registry facilitated recruitment, and it is this process that forms the unique contribution to knowledge of the research. By illuminating the multiple loss experienced by families struggling with physical and social decline, this research offers a practical and theoretical image of the capacity contemporary artists have to shape research into myotonic dystrophy. The study will argue that this capacity is more ambitious than illustration, more extensive than the communication of family insights. Thus it can embrace a much-needed form of research leadership that is built upon an artist’s scope to say powerful things by withholding information. In addition, the employment of feminist literature on ageing and appearance, and sociological research into the decline and isolation of affected families, helps define the particular form of leadership that can arise through extreme personal circumstances. As pressures on services increase, cross-sector influence becomes increasingly important and this thesis and body of practical work explores the future impact of contemporary artists taking a lead in shaping research agendas in the genetic sciences.
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Khorana, Sukhmani. "Crossing over: theorising Mehta’s film trilogy; practising diasporic creativity." Thesis, 2010. http://hdl.handle.net/2440/64047.
Повний текст джерелаАнотація:
This project, titled “Crossing Over: Theorising Mehta’s Film Trilogy, Practising Diasporic Creativity” articulates a critical-creative research discourse. It crosses over in terms of
traversing critical scholarship on genre and audience, assuming multiplie cultural positions, as well as in bridging the theory/practice divide. The most critical theoretical intervention made by this project is to insist on a more nuanced (rather than homogeneously “transnational”) account of situated diasporic practice.
The thesis comprises the critical component, and consists of a preface and five chapters on the theory, location, genre, audience and remixing of diasporic creative practice. In addition to the critical component, the project consists of a 20-minute visual essay and a web-log of production notes that constitute the creative component.
The aim of the critical section is to theorise the intertwining of personal, political, and poetic attributes of diasporic creative practice through the conception, development and
distribution stages. Such a theorisation demonstrates the situated nature of diasporic production and reception, and its crossover potential is exemplified through the study of
Indo-Canadian filmmaker Deepa Mehta and her well known “elements” film trilogy. The critical approach is an epistemological and methodological convergence of the auteur, genre, and audience/cultural studies approaches, and hence a theoretical crossover.
The visual essay, titled I Journey Like a Paisley is itself a crossover of various textual genres, as well as creatively manifesting the multiple cultural positions of diasporic practice laid out in the critical component. It documents the lives of a group of young Indian-Australians residing in Adelaide through the personal-political-poetic specificities of my diasporic lens. Production choices and screening responses are discussed briefly at the end of the critical component. For a more comprehensive understanding of the production of the theoretical and visual components and their cross overs, entries from the web-log maintained throughout the project (http://over-exposed-image.blogspot.com) have been included in the appendix. Significantly, the research discourse is established as a remixed, theoretically informed practice that crosses cultural and genre/audience boundaries.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2010
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Nevanti, Kirsi. "In Real Life (Or Elsewhere) : om kreativa processer och parallella verkligheter i dokumentärfilm." Doctoral thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-262.
Повний текст джерелаАнотація:
Reality isn’t what it appears to be. Contexts are not always clear and visible. People don’t always say what they really mean. And they don’t always mean what they say. When life is your stage manager, anything can happen. I often say, life is hard, my head is harder. Making documentaries is not for the faint-hearted.This PhD project explores creative processes and parallel realities in documentary film, and discusses and conceptualizes the artistic practice of documentary filmmaking. The project consists in part of artistic works and essays that are critical reflections on the creative process and how that process can be conceptualized. The cinematic centerpiece of the thesis is entitled Images and the Worlds of Being (2011–2016). Previous subprojects are A Shift Between Worlds (2013–2015) and an essay book entitled In Real Life (or Elsewhere) (2013). Between 2013 and 2017, more essays were written, some of them translated to English. All the Swedish essays are available in PDF format. All of the works in the PhD project explore creative processes and parallel realities in two different ways: A Shift Between Worlds (2013–2015) explores identity and parallel realities in the gendered world. These works are based on two workshops led by Diane Torr, “Man for a Day” and “Woman for a Day.” They resulted in several component works, including two video essays, two audio works and two large-format photographic works, the latter in collaboration with photographer Johan Bergmark, as well as a short commentary film entitled Diane Speaks Out (2016). Images and the Worlds of Being (2011–2016) – a VR Classic Style film – explores what happens when documentary images are shown on four screens forming the walls of a room. This work also focuses on the view through the camera lens through which the filmmaker meets the world, in a hypnotic tapestry of parallel realities in a tenderly portrayed, runaway present. A sort of logical reasoning about the illogic of our era, in search of elusive reality (to paraphrase Jean Baudrillard) – the presence in the act of seeing. An experiment in the forms of visual knowledge, outside the traditional display windows. Shooting location: The World.
Книги з теми "Creative cinematic practice"
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Murphy, Jill, and Laura Rascaroli, eds. Theorizing Film Through Contemporary Art. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467.
Повний текст джерелаАнотація:
As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, so interrogating the creation, appraisal, and evolution of film theory as channeled through contemporary art. This book takes film theory as a blueprint for the moving image, and juxtaposes it with artworks that render cinema as a material object. In the process, it unfolds a complex relationship between a theory and a practice that have commonly been seen as virtually incompatible, renewing our understanding of each and, more to the point, their interactions.
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Knowles, Kim, and Marion Schmid, eds. Cinematic Intermediality. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.001.0001.
Повний текст джерелаАнотація:
As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema, and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.
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Tomadjoglou, Kimberly. Alice Guy’s Great Cinematic Adventure. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0008.
Повний текст джерелаАнотація:
This chapter rethinks Alice Guy's legacy by analying her adaptation of the paternalist practices of Gaumont Film Company, where she began, to the matriarchal organization of her own film studio in America, Solax. It tackles a number of questions arising from the figure of Alice Guy: for example, whether she was a feminist; whether her husband Herbert Blaché was responsible for the failure of Solax; whether she directed La Fée aux choux (The Cabbage Fairy), which, according to her, was her directorial debut, made in 1896; or whether she directed her first film in 1902, the two-shot Sage-femme de première classe (First Class Mid-Wife). In historicizing Guy's practice, this chapter reconceptualizes her creativity in terms not of “auteur” but of metteur-en-scène—thereby recognizing her generative role in managing the creative output of her studio. It also examines the role of fantasy in creating a feminist historiography or a feminist Alice Guy.
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Brine, Kelly Gordon. The Art of Cinematic Storytelling. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054328.001.0001.
Повний текст джерелаАнотація:
The Art of Cinematic Storytelling: A Visual Guide to Planning Shots, Cuts, and Transitions is a practical introduction to the design of shots, cuts, and transitions for film, video, television, animation, and game design. The author-illustrator is a storyboard artist who has worked with and learned from over 200 professional directors and cinematographers. This book’s clear and concise explanations and vivid examples demystify the visual design choices that are fundamental to directing and editing. Hundreds of illustrations and diagrams support the text. The primary emphasis is on blocking actors and positioning the camera for mood, meaning, and continuity editing. This book delves deeply into controlling the audience’s understanding and perception of time and space; designing in-camera time transitions; compressing and expanding time; composing creative shots for cinematic storytelling; choosing between objective and subjective storytelling; motivating camera moves; choosing lenses; using screen geography and film grammar for clarity; planning shots with continuity editing in mind; knowing how and when to cut; beginning and ending scenes; and using storyboards for planning and communication. Several chapters are devoted to how to block and shoot action involving travel, pursuits, searches, dialogue, groups, and driving. While the approach is based largely on well-established techniques of cinematography and continuity editing, attention is also given to jump cuts, tableau shots, and unconventional framing. The topics are covered thoroughly and systematically, and this book serves both as an introductory text and as a reference work for more advanced students of film.
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Armatage, Kay. Barbara Willis Sweete. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0019.
Повний текст джерелаАнотація:
This chapter investigates the complexity of Barbara Willis Sweete's creative orchestration of multiple personnel and technical operations in HD transmissions of live opera, with particular emphasis on how the input of composer, stage director, and performers are re-mediated through her technical expertise and cohering cinematic aesthetic. Sweete, one of the two principal directors of the Metropolitan Opera Live in high-definition (HD) live transmissions, has a varied media background. She brings to her HD transmissions a carefully calibrated practice that attends not only to music, staging, and performance but also to visual narrativity and what she calls visual architecture. This chapter explores how that practice engages with the intermedial nature of the live HD broadcast of opera. It argues that Sweete's visual practice places her at the center of this new cultural form—an intermedial hybrid—which can be viewed as currently in its “transitional” period, much as cinema “transitioned” in the 1910s.
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Birtwistle, Andy. Meaning and Musicality. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0009.
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The chapter critically reappraises the work of the British experimental filmmaker John Smith, drawing on analyses of key films and interview material to explore his use of sound, music and voice. Smith’s films often engage self-reflexively with how sound creates or accepts meaning within an audiovisual context. Influenced by structural film practice of the 1960s and 1970s, and underpinned by a Brechtian concern with the politics of representation, Smith’s often humorous work both foregrounds and deconstructs the sound-image relations at work in dominant modes of cinematic representation. This analysis of Smith’s work identifies the political dynamic of the filmmaker’s use of sound, and addresses what is at stake—for both Smith and his audience—in the self-reflexive concern with audiovisual modes of representation. Examined within this context are Smith’s creative focus on the production of meaning and how this relates to aspects of musicality and abstraction in his work.
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Duckett, Victoria. Queen Elizabeth. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0005.
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This chapter examines the 1912 feature film Queen Elizabeth as a reflection of Sarah Bernhardt's roles in the late nineteenth century and her insistence that these could remain relevant to audiences in the twentieth century. In histories of the cinema, Queen Elizabeth is a film consistently referred to as an example of “filmed theater.” The chapter considers the cinematic practices that Queen Elizabeth reveals and how the film draws upon the long and rich history of Queen Elizabeth's appearance in the theater, the visual arts, and the popular presses. It argues that Queen Elizabeth was an intelligent and creative response to the theatrical possibilities of the cinema and to the tastes and fashions of Bernhardt's day. It also discusses how Bernhardt brings to film the same practices and processes that Paul Delaroche had earlier brought to history painting. Finally, it shows how Queen Elizabeth establishes a link between Elizabeth and William Shakespeare, thus presenting itself as film that animates history.
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Gibbons, William. Allusions of Grandeur. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0005.
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This chapter explores how video games can seek to raise their artistic profile by using classical music to allude to cinema history. After describing some of the visual elements that can be incorporated in games to create a cinematic feeling for players, the chapter traces the use of classical compilation scores in games, connecting the practice to early cinema history. It then turns to more specific topics: first, video game versions of the Disney film Fantasia, such as the Atari 2600 title Sorcerer’s Apprentice (1983) and the Sega Genesis platformer Fantasia (1991), followed by the incorporation of Philip Glass’s score to the film Koyaanisqatsi in Grand Theft Auto IV.
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Palmer, Landon. Rock Star/Movie Star. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.001.0001.
Повний текст джерелаАнотація:
When midcentury Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock ’n’ roll stars. Such stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. This book examines how casting rock stars for film provided a tool for bridging new relationships across media industries and practices. Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock’s emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. Examining stars from Elvis Presley to Madonna, this book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new—ideal media laborers whose power lies in the fact that they are rarely recognized as such.
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Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.
Повний текст джерелаАнотація:
French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
Частини книг з теми "Creative cinematic practice"
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Pucill, Sarah. "A Dialogue with Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror." In Cinematic Intermediality, 194–201. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0015.
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In this chapter, the artist filmmaker Sarah Pucill elucidates her artistic dialogue with the Surrealist lesbian artist Claude Cahun (1894-1954), whose photographs and manuscripts are constitutive of her films Magic Mirror (2013) and Confessions to the Mirror (2016). Pursuing Pucill’s earlier interest in the intersubjectivity between women, the films re-enact Cahun’s photographs in the form of tableaux vivants, creating new connections between the French artist’s visual and written work and Pucill’s own creative practice. Drawing on Ágnes Pethő’s theoretical writing on the intermediality of the tableau vivant in film, the artist analyses how her re-enactment of Cahun’s photographs as tableaux vivants creates a sense of indecipherability caused by the overlaying of the original ‘ghost’ photograph with its re-staging in colour and with sound. The reworkings of Cahun's texts and photographs in the films conjoin different art forms and authors, interrogating questions of queer female subjectivity across time and space.
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Rocamora, Isabel. "Performance, Moving Image, Installation: The Making of Body of War and Faith." In Cinematic Intermediality, 176–84. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0013.
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In this chapter, moving image artist Isabel Rocamora reflects on the thematic, aesthetic and philosophical concerns that drive her intermedial art practice. The essay traces the ways in which core elements of her performance work – gesture, place, temporality and presence – in turn inform and are transformed by her film and video installations. A discussion of the ethical dilemmas that motivate Body of War (2010) and Faith (2015) – namely, military violence and ethnic segregation – opens up problems of identity and alterity as well as questions of form, structure and register. To address these, Rocamora places the illuminating philosophies of Martin Heidegger and Emmanuel Levinas into dialogue with her own directorial approach to casting, location, performance, cinematography, sound design and exhibition architecture. The aim of her moving images, she explains, is to draw out the personal from the collective in mise en scènes that dislodge performative action to expose ontological presence. The creative means, the essay concludes, emerge from the productive strife between the media.
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Campbell, Timothy C. "Freeing the Apparatus." In The Techne of Giving. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823273256.003.0002.
Повний текст джерелаАнотація:
The second chapter is an attempt to read the cinematic apparatus as offering an affirmative response to biopower and mythic violence through the interplay of the visible and invisible. Beginning with a number of classic readings of the cinematic apparatus from Bazin, Heath, and Mulvey, among others, the possibility is explored that the cinematic apparatus can on occasion create generous forms of life that are able to give without requiring the mastery of what appears on screen. A techne of giving is found in the practice of generous attention, or what is referred to creative spectatorship.
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Fuery, Kelli. "Habit the Cinematic Encounter: Cheryl Dunye and the ‘Dunyementaries’." In Ambiguous Cinema, 91–120. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781399504232.003.0005.
Повний текст джерелаАнотація:
This chapter discusses phenomenologies of habit as a way to think through the relationship between racialized vision, situation, and freedom within film experience. It discusses Cheryl Dunye’s disruptive, experimental filmmaking style with respect to Alia Al-Saji’s (2014) phenomenology of hesitation to argue Dunye’s filmmaking as ethico-political action that interrupts complacent viewing habits in the cinematic encounter. Simone de Beauvoir emphasizes ambiguity within the experience of perception as a pointer to the more prevalent ambiguity within the human condition, supporting Maurice Merleau-Ponty’s use of the phenomenological approach that facilitates authentic connections with the world. In other words, becoming enworlded as conscious and reflexive agents requires recognition and acceptance of ambiguous experience. This philosophy is clearly personified in Dunye’s creative practice, which blends various reflexive, participatory and poetic modes to destabilise established narrative and documentary genres, crafting a subtle, yet effective style that celebrates ambiguity in women’s identity.
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Colangelo, Dave. "Large-scale Projection and the (New) New Monumentality." In The Building as Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989498_ch02.
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The use of the moving image in public space extends the techniques of cinema — namely superimposition, montage, and apparatus/dispositif — threatening, on one end of the spectrum, to dehistoricise and distract, and promising to provide new narrative and associative possibilities on the other. These techniques also serve as helpful tools for analysis and practice drawn from cinema studies that can be applied to examples of the moving image in public space. Case studies and creative works are presented in order to examine and illustrate the ways that public projections extend the effect of superimposition through the rehistoricisation of space, expand the diegetic boundaries of the moving image through spatial montage, and enact new possibilities for the cinematic apparatus and dispositif through scale and interaction in order to reframe and democratise historical narratives and scripts of urban behaviour.
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Herbert, Daniel. "The Transnational Film Remake in the American Press." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0014.
Повний текст джерелаАнотація:
American film critics commonly deride Hollywood’s practice of remaking foreign films as an indication of the industry’s creative bankruptcy and imperialist tendencies. Such sentiments occur as early as the 1930s, just as Hollywood gained institutional cohesion and as various countries fostered their local “national” cinemas. This suggests that American critics have consistently held an ambivalent stance toward Hollywood, particularly when situated in relation to the world’s cinemas. Critics have participated in an enduring conflation of the “foreign” with artistic quality and Hollywood with crass commercialism and, concomitantly, reinforced simplistic notions about transnational cinematic flows. Yet within and alongside such reviews, American critics created a rhetorical space for a more nuanced approach to transnational cinema through their use of different critical keywords, points of analysis, and methods of evaluation. This chapter explores the historically changing criteria by which American film critics have evaluated Hollywood’s transnational film remakes as a means of uncovering how the “transnational” operated in popular American film discourse, even if it was not named as such.
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Schmid, Marion. "The World as Spectacle: Cinematic Theatricalities." In Intermedial Dialogues, 53–85. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474410632.003.0003.
Повний текст джерелаАнотація:
This chapter examines theatre's double role as both rival and tutelary figure for New Wave directors. From Alain Resnais's theatrical fictions to Jean-Luc Godard's Brechtian conception of the cinematic medium, not forgetting Jacques Rivette's incorporation of theatre rehearsals and theatrical plots into the filmic fabric, the theatre takes centre stage in the New Wave as cinema's embodied 'other'. The chapter explores the manifold interactions with theatre and theatricality in New Wave film, focusing on intermedial tropes such as mise en abyme and metalepsis, but also interrogating the theatre's capacity - as postulated by Rivette - to reveal cinema to itself. We will see that the collective practices of avant-garde theatre of the 1950s and 60sopen up the concept of the auteur, creating a new space for improvisation and creative collaboration.
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Kelly, Brine. "Storytelling Cuts and Film Grammar." In The Art of Cinematic Storytelling, 117–37. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054328.003.0008.
Повний текст джерелаАнотація:
Chapter 7 explores how film grammar is used to design shots that can be cut together in ways that conform to continuity editing. Using film grammar keeps discontinuities that create abrupt jumps in time and space from arising during cuts. Stories flow naturally and viewers are not conscious of the editing. Film is a language, and film grammar helps achieve the goal of clear communication. Film grammar would not be needed if cuts were never made, but cuts are almost always needed for both practical and storytelling reasons. This chapter examines cutting for such reasons as dramatic emphasis, to show reactions, to create meaningful juxtapositions, to continue the story at a different time or in a new location, to show parallel action, and to switch between objective and subjective coverage of a character.
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Kretzer, Andreas. "Beyond the Haze of Carnival Candles." In Advances in Media, Entertainment, and the Arts, 21–43. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7254-2.ch002.
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This chapter addresses new approaches for design and production practices by applying film as a medium and production design techniques as a method in (interior) architectural education. In various courses and formats with international students on Bachelor and Master level, the author is exploring cinematic tools for phenomenological analysis, scenographic reinterpretation, and architectural storytelling in order to expand the range and toolbox of contemporary academic teaching in the architectural context. The common ground of architectural and cinematic space goes back much further than the history of film itself. But despite comprehensive literature on both the topic of sequence in architecture and fundamental film theoretical writings on cinematic space, we are still the men who stare at static representations. Off the beaten path of tried and tested design methods and beyond Gottfried Semper's “haze of carnival candles,” cinematic methods are providing valuable tools for the creation, evaluation and representation of spatial designs in (interior) architecture.
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Bošković, Aleksandar. "Alone in the Cinemascope." In Experimental Cinemas in State-Socialist Eastern Europe. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462982994_ch07.
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This chapter focuses on Yugoslav filmmaker Slobodan Šijan’s production of the Film Leaflet (1976–1979), a single-page, double-sided fanzine exemplifying paracinematic practices that expanded cinematic experimentation beyond the movie screen. While relatively marginal in Yugoslav experimental, amateur film culture, the work expresses key aspects of this creative milieu and Yugoslav culture more broadly, forged in a hybrid environment where official and alternative cultures coalesced, and where Socialist ideology coexisted with an appreciation of American popular media. Šijan’s cine-zine critically engaged these scenes and the practices of cinema-going and programming as a self-referential hypertext of radical amateurism, presenting a critical inquiry into cultural reproduction. This study considers both the period’s overall culture and the film cultural references that surface in the Film Leaflet.
Тези доповідей конференцій з теми "Creative cinematic practice"
1
Yip, David. "Disruptive Innovations in cinematic storytelling from 2D to 3D." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002036.
Повний текст джерелаАнотація:
Long before the digital revolution, communication theorist Marshall McLuhan has taught us about how the different forms of media can shape content with his famous book Medium is the Message [1]. Over the past several decades, the theory has certainly stood the test of time. New media technologies have advanced so rapidly that many news form of content creation and expression have been made possible. New tools have offered new and diverse forms of storytelling. Nevertheless, new ways can never completely replace old ways; they just evolve and build upon the conventional practices. Do some of the new digital tools simply offer new way of doing the old thing with better technology or are they completely change the old way entirely? This paper aims to examines these issues from a historical perspective on a few past innovation disruptions that seemed to send destructive shockwave to how things were in the beginning but brought new heights in the long run. This paper discusses historical and ongoing examples of innovation disruptions in cinematic storytelling in hopes of shedding light on the dynamic relation between art and technology. How have innovation disruptions changed the form and content of cinematic storytelling from 2D to 3D?