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Cinematic Flashes challenges popular notions of a uniform Hollywood style by disclosing uncanny networks of incongruities, coincidences, and contingencies at the margins of the cinematic frame. In an agile demonstration of "cinephiliac" historiography, Rashna Wadia Richards extracts intriguing film fragments from their seemingly ordinary narratives in order to explore what these unexpected moments reveal about the studio era. Inspired by Walter Benjamin's preference for studying cultural fragments rather than composing grand narratives, this unorthodox history of the films of the studio system reveals how classical Hollywood emerges as a disjointed network of accidents, excesses, and coincidences.
Apply universally accepted cinematic techniques to your Flash projects to improve the storytelling quotient in your entertainment, advertising (branding), and educational media. A defined focus on the concepts and techniques for production from story reels to the final project delivers valuable insights, time-saving practical tips, and hands-on techniques for great visual stories. Extensive illustration, step-by-step instruction, and practical exercises provide a hands-on perspective. Explore the concepts and principles of visual components used in stories so you are fluent in the use of space, line, color, and movement in communicating emotion and meaning. Apply traditional cinematography techniques into the Flash workspace with virtual camera movements, simulated 3d spaces, lighting techniques, and character animation. Add interactivity using ActionScript to enhance audience participation.
In this Open Access book, film scholar Rasmus Greiner develops a theoretical model for the concept of the histosphere to refer to the “sphere” of a cinematically modelled, physically experienceable historical world. His analysis of practices of modelling and perceiving, immersion and empathy, experience and remembering, appropriation and refiguration, combine approaches from film studies, such as Vivian Sobchack’s phenomenology of film experience, with historiographic theories, such as Frank R. Ankersmit’s concept of historical experience. Building on this analysis, Greiner examines the spatial and temporal organization of historical films and presents discussions of mood and atmosphere, body and memory, and genre and historical consciousness. The analysis is based around three historical films, spanning six decades, that depict 1950s Germany: Helmut Käutner’s Sky Without Stars (1955), Jutta Brückner’s Years of Hunger (1980), and Sven Bohse’s three-part TV series Ku’damm 56 (2016).
The flashback is a crucial moment in a film narrative, one that captures the cinematic expression of memory, and history. This author’s wide-ranging account of this single device reveals it to be an important way of creating cinematic meaning. Taking as her subject all of film history, the author traces out the history of the flashback, illuminating that history through structuralist narrative theory, psychoanalytic theories of subjectivity, and theories of ideology. From the American silent film era and the European and Japanese avant-garde of the twenties, from film noir and the psychological melodrama of the forties and fifties to 1980s art and Third World cinema, the flashback has interrogated time and memory, making it a nexus for ideology, representations of the psyche, and shifting cultural attitudes.
The Frankenstein Film Sourcebook by Caroline Picart,Frank Smoot,Jayne Blodgett Pdf
The endurance of the Frankenstein narrative as a modern cinematic myth is undeniable. Its flexibility has produced classic and contemporary horror film-most notably the Universal films of the thirties-but it has also resulted in unusual hybrids, such as musical horror-comedy (The Rocky Horror Picture Show), hyperbolic parody (Flesh for Frankenstein), and science fiction (the Alien and Terminator series). This sourcebook provides a complete guide to all of the story's filmic incarnations-including essential information such as cast, creative personnel, and plot summaries-and also guides the reader to relevant primary texts such as scripts, posters, production histories, and newspaper clippings. Utilizing an approach that is both popular and scholarly, and including spotlight essays that deal with contemporary academic approaches to the subject, The Frankenstein Film Sourcebook reveals the depth of the cinematic range of interpretations of a classic modern myth. Comprehensive in its scope, The Frankenstein Film Sourcebook provides an alphabetical guide to two hundred films that incorporate the Frankenstein narrative. It also delves into both primary and secondary perspectives and includes discussions of aspects of the films, such as their depiction of women, which is relevant to current scholarly critiques.
The Oxford Handbook of Cinematic Listening by Carlo Cenciarelli Pdf
The Oxford Handbook of Cinematic Listening explores the intersection between the history of listening and the history of the moving image. Featuring established and emergent scholars from musicology, film studies, and literary studies, ethnomusicology and sound studies, popular music,sociology, media and communications, and psychology, this Handbook offers a wide range of case studies and methodological perspectives on the archaeologies, aesthetics, and extensions of cinematic listening.Chapters are structured around six themes: Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing genres such as opera and shadow theatre, and explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations andRelocations") focuses on specific venues and presentational practices (from roadshow movies to and contemporary live-score screenings). Part III ("Representations and Re-presentations") zooms into the formal properties of specific films, analysing representations of listening on screen as well as onthe role of sound as a representational surplus. Part IV ("The Listening Body") focuses on cinematic sound as a powerful and sensual stimulus that has the power to engage the full body sensorium. Part V ("Listening again") discusses a range of ways in which film sound is encountered andreinterpreted outside the cinema, through ancillary materials like songs and soundtrack albums, in experimental conditions, and in pedagogical contexts. Part VI ("Between Media") compares the listening protocols of cinema with those of TV series and music video, promenade theatre and personalstereos, video games and Virtual Reality.
Lessons in Perception seeks to clarify notoriously elusive themes of the avant-garde with the use of existing research from the field of psychology. There is a long-standing history of reference to psychological concepts in relation to avant-garde film, such as its unique relationship to memory, visual perception, narrative comprehension, and synesthesia. Yet direct analysis of these topics in light of existing psychological research remains largely unexplored until now. More broadly, the aim of the book is to frame avant-garde filmmaking practice as a form of "practical psychology." In doing so, two principal arguments are proposed: first, that many avant-garde filmmakers draw creative inspiration from their own cognitive and perceptual capacities, and touch on topics explored by actual psychologists; secondly, that as practical psychologists, avant-garde filmmakers provide "lessons in perception" that offer psychological experiences that are largely unrehearsed in commercial cinema
For decades after its invention, television was considered by many to be culturally deficient when compared to cinema, as analyses rooted in communication studies and the social sciences tended to focus primarily on television's negative impact on consumers. More recently, however, denigration has largely been replaced by serious critical consideration of what television represents in the post-network era. Once derided as a media wasteland, TV is now praised for its visual density and complexity. In the last two decades, media scholars have often suggested that television has become cinematic. Serial dramas, in particular, are acclaimed for their imitations of cinema's formally innovative and narratively challenging conventions. But what exactly does "cinematic TV" mean? In Cinematic TV, author Rashna Wadia Richards takes up this question comprehensively, arguing that TV dramas quote, copy, and appropriate (primarily) American cinema in multiple ways and toward multiple ends. Constructing an innovative theoretical framework by combining intertextuality and memory studies, Cinematic TV focuses on four modalities of intermedial borrowings: homage, evocation, genre, and parody. Through close readings of such exemplary shows as Stranger Things, Mad Men, Damages, and Dear White People, the book demonstrates how serial dramas reproduce and rework, undermine and idolize, and, in some cases, compete with and outdo cinema.
Flash! presents a fascinating cultural history of flash photography, from its mid-nineteenth century beginnings to the present day. All photography requires light, but the light of flash photography is quite distinctive: artificial, sudden, shocking, intrusive, and extraordinarily bright. Associated with revelation and wonder, it has been linked to the sublimity of lightning. Yet it has also been reviled: it's inseparable from anxieties about intrusion and violence, it creates a visual disturbance, and its effects are often harsh and create exaggerated contrasts. Flash! explores flash's power to reveal shocking social conditions, its impact on the representation of race, its illumination of what would otherwise remain hidden in darkness, and its capacity to put on display the most mundane corners of everyday life. It looks at flash's distinct aesthetics, examines how paparazzi chase celebrities, how flash is intimately linked to crime, how flash has been used to light up - and interrupt - countless family gatherings, how flash can 'stop time' allowing one to photograph rapidly moving objects or freeze in a strobe, and it considers the biggest flash of all, the atomic bomb. Examining the work of professionals and amateurs, news hounds and art photographers, photographers of crime and of wildlife, the volume builds a picture of flash's place in popular culture, and its role in literature and film. Generously illustrated throughout, Flash! brings out the central role of this medium to the history of photography and challenges some commonly held ideas about the nature of photography itself.
In The Shape of Motion: Cinema and the Aesthetics of Movement, author Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema's "motion forms": structures, patterns, or shapes of movement unique to the moving image. From the wild and unpredictable motion of flickering leaves and swirling dust that captivated early spectators, to the pulsing abstractions that emerge from rapid lateral tracking shots, to the bleeding pixel-formations caused by the glitches of digital video compression, each motion form opens up the aesthetics of movement to film theoretical inquiry. By pairing close analyses of onscreen movement in narrative and experimental films with concepts from Maurice Merleau-Ponty, Henri Bergson, and Immanuel Kant, Schonig rethinks longstanding assumptions within film studies, such as indexical accounts of photographic images and analogies between the camera and the human eye. Arguing against the intuition that cinema reproduces our natural perception of motion, The Shape of Motion shows how cinema's motion forms do not merely transpose the movements of the world in front of the camera, they transform them.
Author : Matt Bell Publisher : Wayne State University Press Page : 336 pages File Size : 40,9 Mb Release : 2016-12-12 Category : Performing Arts ISBN : 9780814341544
The Boys in the Band’s debut was revolutionary for its fictional but frank presentation of a male homosexual subculture in Manhattan. Based on Mart Crowley’s hit Off-Broadway play from 1968, the film’s two-hour running time approximates real time, unfolding at a birthday party attended by nine men whose language, clothing, and behavior evoke a range of urban gay “types.” Although various popular critics, historians, and film scholars over the years have offered cursory acknowledgment of the film’s importance, more substantive research and analysis have been woefully lacking. The film’s neglect among academics belies a rich and rewarding object of study. The Boys in the Band merits not only the close reading that should accompany such a well-made text but also recognition as a landmark almost ideally situated to orient us amid the highly complex, shifting cultural terrain it occupied upon its release—and has occupied since. The scholars assembled here bring an invigorating variety of methods to their considerations of this singular film. Coming from a wide range of academic disciplines, they pose and answer questions about the film in remarkably different ways. Cultural analysis, archival research, interviews, study of film traditions, and theoretical framing intensify their revelatory readings of the film. Many of the essays take inventive approaches to longstanding debates about identity politics, and together they engage with current academic work across a variety of fields that include queer theory, film theory, gender studies, race and ethnic studies, and Marxist theory. Addressing The Boys in the Band from multiple perspectives, these essays identify and draw out the film’s latent flashpoints—aspects of the film that express the historical, cinematic, and queer-political crises not only of its own time, but also of today. The Boys in the Band is an accessible touchstone text in both queer studies and film studies. Scholars and students working in the disciplines of film studies, queer studies, history, theater, and sociology will surely find the book invaluable and a shaping influence on these fields in the coming years.
Author : William Z. Shetter Publisher : University Press of America Page : 350 pages File Size : 45,9 Mb Release : 1996 Category : Art ISBN : 0819199982
Apply universally accepted cinematic techniques to your Flash projects to improve the storytelling quotient in your entertainment, advertising (branding), and educational media. A defined focus on the concepts and techniques for production from story reels to the final project delivers valuable insights, time-saving practical tips, and hands-on techniques for great visual stories. Extensive illustration, step-by-step instruction, and practical exercises provide a hands-on perspective. Explore the concepts and principles of visual components used in stories so you are fluent in the use of space, line, color, and movement in communicating emotion and meaning. Apply traditional cinematography techniques into the Flash workspace with virtual camera movements, simulated 3d spaces, lighting techniques, and character animation. Add interactivity using ActionScript to enhance audience participation.
How Flash rose and fell as the world's most ubiquitous yet divisive software platform, enabling the development and distribution of a world of creative content. Adobe Flash began as a simple animation tool and grew into a multimedia platform that offered a generation of creators and innovators an astonishing range of opportunities to develop and distribute new kinds of digital content. For the better part of a decade, Flash was the de facto standard for dynamic online media, empowering amateur and professional developers to shape the future of the interactive Web. In this book, Anastasia Salter and John Murray trace the evolution of Flash into one of the engines of participatory culture. Salter and Murray investigate Flash as both a fundamental force that shaped perceptions of the web and a key technology that enabled innovative interactive experiences and new forms of gaming. They examine a series of works that exemplify Flash's role in shaping the experience and expectations of web multimedia. Topics include Flash as a platform for developing animation (and the “Flashimation” aesthetic); its capacities for scripting and interactive design; games and genres enabled by the reconstruction of the browser as a games portal; forms and genres of media art that use Flash; and Flash's stance on openness and standards—including its platform-defining battle over the ability to participate in Apple's own proprietary platforms. Flash's exit from the mobile environment in 2011 led some to declare that Flash was dead. But, as Salter and Murray show, not only does Flash live, but its role as a definitive cross-platform tool continues to influence web experience.
1. This book presents the untold story of the role the emergence of cinematic sound had on Soviet politics and culture. The author contextualizes media technologies in the midst of the political and cultural environment of the early Soviet era. 2. The author is a returning IUP author who is extremely active in both Slavic studies and film and media studies. 3. This book with have a market among both film and Russian/East European studies scholars and is a strong contribution to IUPs growing international film history lists.