679 research outputs found

    Southern Adventist University Undergraduate Catalog 2023-2024

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    Southern Adventist University\u27s undergraduate catalog for the academic year 2023-2024.https://knowledge.e.southern.edu/undergrad_catalog/1123/thumbnail.jp

    Sound of Violent Images / Violence of Sound Images: Pulling apart Tom and Jerry

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    Violence permeates Tom and Jerry in the repetitive, physically violent gags and scenes of humiliation and mocking, yet unarguably, there is comedic value in the onscreen violence.The musical scoring of Tom and Jerry in the early William Hanna and Joseph Barbera period of production (pre-1958) by Scott Bradley played a key role in conveying the comedic impact of violent gags due to the close synchronisation of music and sound with visual action and is typified by a form of sound design characteristic of zip crash animation as described by Paul Taberham (2012), in which sound actively participates in the humour and directly influences the viewer’s interpretation of the visual action. This research investigates the sound-image relationships in Tom and Jerry through practice, by exploring how processes of decontextualisation and desynchronisation of sound and image elements of violent gags unmask the underlying violent subtext of Tom and Jerry’s slapstick comedy. This research addresses an undertheorised area in animation related to the role of sound-image synchronisation and presents new knowledge derived from the novel application of audiovisual analysis of Tom and Jerry source material and the production of audiovisual artworks. The findings of this research are discussed from a pan theoretical perspective drawing on theorisation of film sound and cognitivist approaches to film music. This investigation through practice, supports the notion that intrinsic and covert processes of sound-image synchronisation as theorised by Kevin Donnelly (2014), play a key role in the reading of slapstick violence as comedic. Therefore, this practice-based research can be viewed as a case study that demonstrates the potential of a sampling-based creative practice to enable new readings to emerge from sampled source material. Novel artefacts were created in the form of audiovisual works that embody specific knowledge of factors related to the reconfiguration of sound-image relations and their impact in altering viewers’ readings of violence contained within Tom and Jerry. Critically, differences emerged between the artworks in terms of the extent to which they unmasked underlying themes of violence and potential mediating factors are discussed related to the influence of asynchrony on comical framing, the role of the unseen voice, perceived musicality and perceptions of interiority in the audiovisual artworks. The research findings yielded new knowledge regarding a potential gender-based bias in the perception of the human voice in the animated artworks produced. This research also highlights the role of intra-animation dimensions pertaining to the use of the single frame, the use of blank spaces and the relationship of sound-image synchronisation to the notion of the acousmatic imaginary. The PhD includes a portfolio of experimental audiovisual artworks produced during the testing and experimental phases of the research on which the textual dissertation critically reflects

    Choreographing tragedy into the twenty-first century

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    What makes a tragedy? In the fifth century BCE this question found an answer through the conjoined forms of song and dance. Since the mid-twentieth century, and the work of the Tanztheater Wuppertal Pina Bausch, tragedy has been variously articulated as form coming apart at the seams. This thesis approaches tragedy through the work of five major choreographers and a director who each, in some way, turn back to Bausch. After exploring the Tanztheater Wuppertal’s techniques for choreographing tragedy in chapter one, I dedicate a chapter each to Dimitris Papaioannou, Akram Khan, Trajal Harrell, Ivo van Hove with Wim Vandekeybus, and Gisèle Vienne. Bringing together work in Queer and Trans* studies, Performance studies, Classics, Dance, and Classical Reception studies I work towards an understanding of the ways in which these choreographers articulate tragedy through embodiment and relation. I consider how tragedy transforms into the twenty-first century, how it shapes what it might mean to live and die with(out) one another. This includes tragic acts of mythic construction, attempts to describe a sense of the world as it collapses, colonial claims to ownership over the earth, and decolonial moves to enact new ways of being human. By developing an expanded sense of both choreography and the tragic one of my main contributions is a re-theorisation of tragedy that brings together two major pre-existing schools, to understand tragedy not as an event, but as a process. Under these conditions, and the shifting conditions of the world around us, I argue that the choreography of tragedy has and might continue to allow us to think about, name, and embody ourselves outside of the ongoing catastrophes we face

    Southern Adventist University Undergraduate Catalog 2022-2023

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    Southern Adventist University\u27s undergraduate catalog for the academic year 2022-2023.https://knowledge.e.southern.edu/undergrad_catalog/1121/thumbnail.jp

    TRANSEUNTIS MUNDI, A NOMADIC ARTISTIC PRACTICE

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    In this practice-led Ph.D. research, I investigate how an artistic practice can respond to the migration phenomena performed by human beings across the planet over millennia ¬– what I refer to as the millennial global human journey. Based on the idea of mobility, I chose to frame this research in the articulation of concepts deriving from the prefix trans: transculture, transhumance and transmediality. This research contributes to studies in art composition by developing the processes and concept of transmedial composition, mainly contributing to the field of New Media Art. This investigation resulted in the work Transeuntis Mundi (TM) Project – a nomadic artistic practice that encompasses: the TM Derive and manual, the TM Archive, the TM VR work Derive 01 and two forms for its notation. Transeuntis mundi (TM), from the Latin language, means the ‘passersby of the world’ and metaphorically personify in this work the millennial migrants and their global journeys. Based on proposals from the Realism art movement and the walking-based methodologies of Walkscapes and Dérive, the TM Derive was created as a nomadic methodology of composition in response to the ideas of migration and ancestry. It is framed by the minimal stories ¬– the form of narrative of this work, captured from field recordings with 3D technology of everyday life worldwide. This material formed the TM Archive, presented in the TM VR work. The TM VR work Transeuntis Mundi Derive 01 is an immersive and interactive performative experience for virtual reality, that artistically brings together stories, sounds, images, people, and places worldwide, ¬as a metaphor of the millennial global human migration. This work happens as a VR application using 3D technology with 360º image and ambisonic sound, in order to promote an engaged experience through the immersion and interactivity of the participant. This thesis presents and contextualizes these creations: the scope, references, concepts, origin, collaborations, methodology, technologies, and results of this work. It is informed and accompanied by reflexive and critical writing, including an articulation with references of works across different artistic media and fields.UNIRIO Federal University of the State of Rio de Janeir

    Oscar Bait: Exploring Links Between an Academy Awards Institutional Persona and Perceptions of Oscar-Worthiness

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    The Academy Awards – or ‘the Oscars’ – and their large-scale television production have historically occupied a unique position as a taste-making apparatus and gatekeeper of prestige stardom. In evaluating ‘the best’ of the (American-centric) filmmaking field, they wield cultural influence over such cinema practices as consumption and evaluation, filmmaking aesthetics and narratives, and the discursive activity of Hollywood’s industrial agents and engaged audiences. This research recontextualises the Oscars’ complex legacy into a new media ecosystem, one in which their established value is undercut by declining broadcast viewership, the changing values and demands of a global film culture, and influential discourses aiming to progress popular culture beyond its problematic histories. In this new paradigm of film production and consumption, I ask what the Oscars mean in a contemporary filmmaking landscape, and the value or influence that established stereotypes of Oscar-worthiness – the colloquial ‘Oscar Bait’ – continue to hold over the awards. I first argue for the Oscars’ position of power within filmmaking production cycles. Using a Bourdieusian framework of ‘taste-making’ and ‘capital’, the Oscars are identified as a site upon which industrial agents negotiate the demands of the cultural terrain. Beyond a theoretical setting, however, the Oscars also occupy the position of an agent – itself vying for prestigious attention in a tumultuous media landscape. As such, I also conceptualise ‘Oscar’ as a mediated industrial persona. To investigate Oscar’s contemporary meaning and its position as a persona, I conducted a textual analysis on a three-year sample (2019-2021) of cultural texts that, combined, contribute to the Oscar persona. This included the televised awards ceremony of each year and their associated paratexts, the core film texts of each year’s competition, and the broader discursive activities of film awards culture. From this methodology I extracted three key thematic contests that courted significant attention, thus speaking to a perceived ‘meaning’ of what the Oscars are for. Firstly, representation within filmmaking endures as an unsettled concept, whereby Oscar constantly must reassess its own values of inclusivity, diversity, and merit. Secondly, Oscar serves as a vital organ of Hollywood’s celebrity mythmaking, whereby individual celebrity narratives are enacted and negotiated for the sake of symbolic capital. Finally, Oscar continues to assert particular ideals, aesthetics, morals, and individuals as the best of the filmmaking field, simultaneously recreating and drawing from such power to present itself as a quality television product. Through these analytical threads, my research impacts current conceptions of cultural prestige and mythmaking within film, interpreting the Oscars as a mediated phenomenon for its power implications and as an institutional persona navigating the demands of its public.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 202

    The Music-Image: Closing the Methodological Gap between Musicology and Film Studies

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    What is film music and how should it be analysed? Film Music Studies has a problematic history that has separated the analysis of music from the image due to the opposing methodologies of Musicology and Film Studies. This thesis discovers a new way of thinking about film music called the music-image. The music-image is the semiotic ambiguity that interlocks 'music' and 'image' through time, analysing a whole image with no fixed meaning or communication, bridging the methodologies of Musicology and Film Studies to do so. The music-image is a philosophical and theoretical model that encourages new film music analysis, rather than an applied analytical model. Theorists who have attempted this ‘bridging’ have leaned towards creating unified theories of musical score and visual form, addressing mainly the mechanics of how music and images work. However, such models rarely consider the spectator’s experience as part of the puzzle. There needs to be a new way of thinking about film music to interlock music and image in one analysis to consider a whole audio-visual experience. I term this ontological interlocking of music and image, quite literally, the music-image. The music-image adopts Gilles Deleuze’s concept of the ‘spiritual automaton’ into the music-image automaton which interlocks the semiotic systems of music and visual image in a whole audio-visual system of meaning. This philosophical and theoretical model avoids any top-down ‘Grand Theory’ as the music-image needs the experience of the spectator and cinema to exist, as any film music needs cinema to exist. The methodologies of Musicology and Film Studies are bridged to explore the music-image as one ‘whole’ image

    The Ephemeral City : Songs for the Ghost Quarters

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    The towers of the Stockholm skyline twine with radio transmissions, flying out over the city, drifting down through the streets and sinking into the underground telephone system below. Stockholm has buildings that have been there for centuries, but is also full of modern and contemporary architectures, all jostling for their place in parallel collective memory. In taking the city up as a subject, this artistic PhD project in music expands allegories to these architectural instruments into the world of the mechanical and the electrical. By taking up and transforming the materials of the cityscape, this project spins ephemeral cities more subtle than the colossal forces transforming the cityscape. The aim is to empower urban dwellers with another kind of ownership of their city.The materials in the project are drawn around themes of urban memory and transformation, psychogeography and the ghosts of the imagined city. There are three questions the artistic works of this project reflect on and address. The first is about the ability of city-dwellers to regain or create some sense of place, history or belonging through the power of their imaginations. The second reflects on the possibility for imagined alternatives to re-empower a sense of place for the people who encounter them. The third seeks out the points where stories, memories, or alternative futures are collective, at what point are they wholly individual, and how the interplay between them plays out in listening.There is an improvisatory practice in how we relate to urban environments: an ever-transforming inter-play between the animate and inanimate. Each individual draws phantoms of memory and imagination onto the cityscape, and this yields subtle ways people can be empowered in their surroundings. The artistic works of this project are made to illuminate those subtleties, centering around a group of compositions, improvisations, artistic collaborations and sound installations in music and sound, utilizing modular synthesizers, field recordings, pipe organs, multi-channel settings; PureData and SuperCollider programs, string ensembles with hurdy-gurdy and nyckelharpa or violin, and sound installations. This choice of instruments is as an allegory to the architecture of Stockholm. The final result is a collection of music and sound works, made to illuminate the imagined city. Taken as a whole, the works of the project create an imaginary city–The Ephemeral City–in order to argue that this evocation of ephemeral space is a way to empower urban dwellers through force of imagination, immune to the vast forces tearing through the fabric of Stockholm life by virtue of the ghostly, transitory and mercurial, as compelling to the inner eye as brick and mortar to the outer life

    2023-2024 Course Catalog

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    2023-2024 Course Catalo
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