Quasi-film commercials. Analysis of selected car manufacturer campaigns

When seeking original forms of expression, contemporary commercials often reach for the achievements of film making. That is reflected in references to the conventions of certain film genres, and the references to particular films. The goal of the article was to present selected examples of the relationships between commercials and film, which can be found in car manufacturer advertising campaigns (Toyota, BMW, and Mercedes-Benz). The analysis of the gathered study material enabled me to identify two forms of quasi-film commercials: a TV spot and a short film

Story Development in Cinematography

First off, I’ve got to argue for the use of the word “cinematography” over “camera”. One is to utilize a word I would like to further unpack. Another is to utilize a word that simply implies a relationship to another art form entirely – photography. I often say to my students that some cinematographers initially come from the lighting point of view and some come from the camera, but ultimately what great cinematographers do is understand a story (not just a moment that tells a story – there is a significant difference) – and tell it. If I say that storytelling is the most and primary function of a cinematographer, then how do we teach storytelling to our students in a classroom? Obviously it is possible to teach them tools of “photography” – lenses/optics, composition, chemistry, sensitometry etc. and lighting – this is an HMI, this is flicker, memorize WAV, etc. However, how do we teach them how to tell a story with these tools? I have been working the last few years on teaching my students story development tools that are appropriate for cinematographers. Tools which as they go forward into their own practice have begun to give real results in terms of not only storytelling, but in the students creating their own relevant visual styles. For them to utilize these tools they need to engage not only in pre-production time, but in story development time – which is a period rarely engaged in at the student level, but is crucial if we want them to become anything other than the takers of pretty pictures

The Virtual Storyteller: story generation by simulation

The Virtual Storyteller is a multi-agent framework that generates stories based on a concept called emergent narrative. In this paper, we describe the motivation and approach of the Virtual Storyteller, and give an overview of the computational processes involved in the story generation process. We also discuss some of the challenges posed by our chosen approach

Participatory Common Learning in Groups of Dairy Farmers in Uganda (FFS approach) and Danish Stable Schools

Farmer Field Schools (FFS) is a well-known concept, which is widely used in many types of farming systems in the Global South. In this report different approaches to FFS adjusted to Ugandan smallholder dairy systems and to Danish organic dairy systems are explored and discussed. The report is based on a Master Thesis in Health Anthropology and a mini manual to the so-called Stable Schools. Improvements of farming practices should be based on the context of the individual farm and include the goals of the farmer and the farming system. This should be the case in all types of farming systems. Viewing learning as a social phenomenon and process, as well as an interaction between the learner and the learning environment (including other farmers) may give opportunities for context based innovations and developments towards a common goal in a group of farmers. It is also seen as a result of common transformative learning and legitimate peripheral participation in a social learning environment

Reclaiming Our Subjugated Truths—Using Hip Hop as a Form of Decolonizing Public Pedagogy: The Case of Didier Awadi

This paper explores how Senegalese Hip Hop pioneer, Didier Awadi, uses Hip Hop as a form of decolonizing public pedagogy that renders the contributions of Pan-African leaders visible to Africa and the world, contributions that are often omitted and vilified by mainstream history. I argue that Awadi’s work provides a strategy for reclaiming oral literature, particularly storytelling, as a legitimate way of knowing, teaching and learning history. In his album Présidents d’Afrique, Didier Awadi uses rap and traditional African music to retell the story of our resistant past through an African frame of reference. The data is comprised of (1) a one-on-one interview with Didier Awadi and (2) one song of Présidents d’Afrique that best exemplifies how his storytelling narrates notions of African histories often erased in Eurocentric history. The data is analyzed using Ruth Reviere’s five Afrocentric research criteria: “ukweli (truth), ujamaa (community), kujitoa (commitment), uhaki (justice), and utulivu (harmony)” to determine whether Didier Awadi’s stories are grounded in African knowledge

Eisenstein, Part 1: 'A Fly in the Fly-Bottle' – Montage to 1930

Few artists have tried harder than Sergei Eisenstein to understand what they were doing, how and why, as they fashioned early on the works that made them famous, and no one among them has ever affirmed later on – with such clarity and conviction – how and why they had at the time misconceived what they were doing, and what lessons they had learned about their art from having done so. Though some filmmakers understood afterwards what Eisenstein had achieved by rethinking what he had done, few commentators, unable to sense hands-on its impetus or consequences, have proven capable of acknowledging it. Within this essay (Part I) I shall unpack what Eisenstein said early on of the mistake that he was making – before recognising it as such. I shall then in a second essay (Part II) reconstrue it definitively as he did later on – after the recognition

Atmahaú Pakmát

A journey into the heart the US-Mexico borderlands reveals a world of ancient rivers, mud, and brick.Radio-Television-Fil