Read e-book online Converging Traditions in the Digital Moving Image: PDF

By François Penz, Brian Ashbee, Terence Wright, FranCois Penz, Maureen Thomas

ISBN-10: 1841500453

ISBN-13: 9781841500454

ISBN-10: 1841508926

ISBN-13: 9781841508924

The international of media creation is in a nation of fast transformation. during this age of the web, interactivity and electronic broadcasting, do conventional criteria of caliber follow or needs to we establish and enforce new standards? This profile of the paintings of the Cambridge collage relocating snapshot Studio (CUMIS), offers a robust argument that new advancements in electronic media are totally depending on an knowing of conventional excellence. The ebook stands on my own in putting equivalent emphasis on theoretical and useful features of its subject material and avoids jargon with the intention to be simply understood by means of the final reader in addition to the expert. Chapters talk about: • animation • navigable architectural environments • relocating picture narrativity • questions of fact and illustration • virtuality/reality • man made imaging • interactivity This large research of present examine, instructing and media creation includes crucial details for all these operating or learning within the parts of multimedia, structure, movie and tv. The publication is designed as a middle textual content for the Cambridge college 1 12 months MPhil measure in structure and the relocating Image.

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Additional info for Converging Traditions in the Digital Moving Image: Architectures of Illusion, Images of Truth

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McCay initially drew film of Gertie not to be shown in cinemas but as part of a vaudeville stage act, in which he appeared on stage as Gertie’s trainer and talked to her. Gertie apparently obeys his commands, reacts to his remarks and even bursts into tears when scolded, then catches a pumpkin when it is thrown at her. For the climax, McCay appeared to walk right on to the screen and was apparently carried away on Gertie’s back. McCay was here opening a debate about reality and cinematic illusion which runs throughout the century, and which took on new relevance with the development of digital animation, and its capacity seamlessly and invisibly to merge with live-action film.

His favourite writer was Mark Twain (18351910) – best remembered for The Adventures of Tom Sawyer (1876) and its sequel, The Adventures of Huckleberry Finn (1885) – because Twain’s world was a fictionalised version of the one Disney had grown up in during his formative years, living on a farm in the Midwest. The climate in the Disney studio was basically anti-intellectual and the visual style of the films owes more to 19th- and 20th-century illustration than to ‘high art’. Fantasia did mark an attempt by Disney to incorporate into his film elements of ‘high culture’, such as classical music, ballet and abstract art, but the results frequently ring false.

A scene in Pocahontas in which John Smith, naked to the waist, enveloped the heroine in a passionate embrace, was removed from the final cut as though Walt was still haunting the viewing theatre. While animation for television has rediscovered some of the subversive quality of early animation in programmes such as The Simpsons (Matt Groening, US, 1989-) and South Park (Trey Parker, US, 1999-) it seems that the ambition and scope of the animated feature is still limited by its continuing to address audiences containing young children.

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Converging Traditions in the Digital Moving Image: Architectures of Illusion, Images of Truth by François Penz, Brian Ashbee, Terence Wright, FranCois Penz, Maureen Thomas

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