Models of ICT Innovation. A Focus on the Cinema Sector

The report starts by looking at the competing and overlapping definitions of creative industries, media and content industries. Chapter 1 investigates the fate of R&D and innovation in the creative industries and in the broader Telecom Media and Technology sectors. Chapter 2 summarizes past studies on innovation in distinct media and content industries (videogames, music recording and newspapers publishing) and draws some lessons from them. Chapter 3 delves more deeply into the specific case of cinema. This chapter investigates the film industry's complex and evolving relationship with technologies and technological inventions. Chapter 4 offers a short cross-comparison with R&D in the book publishing industry. Chapter 5 deals with policy issues triggered by the observed digital changes. Chapter 6 concludes with a brief assessment of EU strengths and weaknesses, and offers some recommendations.JRC.J.3-Information Societ

English Is It! (ELT Training Series). Vol. 11

English Is It! (ELT Training Series) was created with a view to providing opportunities which can make up, somehow, for this gap. The aforementioned members are the permanent teaching staff in the group, they investigate their different areas of expertise in their classes, expose them to the group and make proposals, which are later turned into articles. To do that, all members have extensively trained to spend the most time in the writing process in order to give the least work to the reader. They have both been succinct and explicit, and tried to say what they meant while meaning what they said. They bore in mind that, unlike class sessions, there is no audience in front, who can ask for clarification; therefore all the planning, the sequencing, the explanations and details have been considered under this premise..

Jaletova venera stereoskopska 3d animirana skulptura

Kratkometražni animirani film Jaletova Venera je inspirisan skulpturama Ljubodraga Jankovića Jaleta, našeg poznatog slikara starije generacije (rođ. 1932) i profesora Fakulteta primenjenih umetnosti Univerziteta umetnosti u Beogradu. Od pedesetih godina prošlog veka bavi se crtežom, slikarstvom, grafikom i skulpturom. Jaletove skulpture prikazuju figure žena. Figure imaju čudesan šarm, dostojanstvenost i lepotu, u formi koja nije realistična, već redukovana na skup skladno komponovanih oblina i prostornih masa. Način stilizacije i jednostavnost formi ostvaruju utisak neočekivane monumentalnosti za dela manjih dimenzija. Na njima je vidljivo bogatstvo raznih stilskih uticaja, koji kao da obuhvataju celokupno iskustvo čovečanstva u predstavljanju ženskog tela u skulpturi, od paleolita, preko arhajske skulpture, renesanse, Pikasa, Mura, narodne umetnosti, a sve složeno u jedan autentičan autorski rukopis. U projektu J aletova Venera , skulpture navedenog autora su prenesene u medij 3D animacije, sa ciljem da se potpunije razume ova oblikovna metoda animacije, ali i da se istraži odnos skulpture i 3D grafike, i uporede njihove sličnosti, razlike i uticaji. Teorijskoistraživački rad u ovom projektu se zasniva, pre svega, na proučavanju literature i analizi primera. Osnovni teorijski okvir je uspostavljen na osnovu teorije i estetike tradicionalnog animiranog filma, gde se definišu kriterijumi za razumevanje animiranog filma, njegove posebnosti i vrednosti u odnosu na druge medije, pre svega u odnosu na srodne kinematografske forme: igrani i dokumentarni film. Preciznije određenje 3D grafike urađeno je kroz analizu istorije i prakse, na primerima opštepoznatih dela, koja su sastavni deo opšte kulture i opšte slike o 3D animaciji, ali i kroz analizu manje poznatih, ali veoma značajnih autorskih pristupa u 3D animaciji. Kroz istraživanje odnosa 3D grafike i skulpture doneseni su zaključci koji doprinose potpunijoj slici o 3D grafici i ukazuju na dragocena iskustva koja u sebi nosi medij skulpture, a koji bi mogli biti primenjeni i u domenu 3D grafike. Predmet analize u ovom tekstu je i stereoskopija, kao metod očuvanja prostornosti forme, koji doprinosi ublažavanju granice filma i stvarnosti, pojačavajući doživljaj koji publika ima gledajući film.Animated short “ Venus of Jale” was inspired by sculptures by Ljubodrag Janković Jale, recognized Serbian fine artists, former professor of the Faculty of Applied Arts in Belgrade. Since the 50’s he is engaged in work on different art forms, including drawing, painting, engraving and sculpting. His sculptures display figures of women. These figures have miraculous appeal, dignity and beauty, in a form which isn’t realistic, but simple and reduced into a composition of harmonic shapes in space. The style and simplicity of forms creates a monumental impression, which is unexpected for such small sculptures. These sculptures have richness of various influences, which seem to wrap all human experience in sculptural representation of the female body, from Paleolithic art, Archaic art, Renaissance, Picasso, More, Slavic native art, all collected into authentic sculptural handwriting. For the purpose of the project “V enus of Jale” , the author’s sculptures are transferred into the media of 3D animation, with aim to copperhand this modeling method of animation and to explore the relation between sculpture and 3D graphics, their similarities, differences and influences. Theoretical work on this project is based on literature exploration and example analysis. Basic theoretical framework is formed based on the theory and aesthetics of traditional animation, by definition of animated film in general, its specifics and system of values, in comparison to other cinematic forms: liveaction and documentary film. The definition of 3D graphics is done by exploring the history of practice, on popular examples, which are a part of popular culture and global image about 3D graphics, but also by exploring not so popular, but quite influential 3D animations. Through comparative analysis of 3D animation and sculptures, a conclusion is reached, which completes an image about 3D graphics and opens this media for precious experiences and knowledge from sculptures, which can be beneficial for 3D animation. This project also explores stereoscopy. Stereoscopy is a method of preserving the 3rd dimension of form, which removes the border between screen and reality, extending the impression of the film on the audience

Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical

Desde su creación, la industria del video musical ha estado fuertemente influenciada por el desarrollo de técnicas en el campo de los efectos visuales gracias a las ilimitadas soluciones artísticas y creativas que ofrecen a los cineastas. La implementación tecnológica de las últimas décadas ha demostrado ser un elemento clave para la aparición de vínculos y correlaciones entre el campo del cine y el video musical. Este nexo se ha basado en el progreso tecnológico, el aumento del uso de efectos visuales en videos musicales y la llegada de realizadores de videos musicales a la industria cinematográfica. Gracias al nacimiento del canal MTV en 1981, los videos musicales se convirtieron en un fenómeno de masas y una forma de experimentación visual para muchos artistas y directores. En sus comienzos MTV emitió videos musicales de forma ininterrumpida que llevaron a impulsar y promover la carrera de un gran número de artistas como Madonna o Michael Jackson. Pero fue en la década de 1990, considerada la edad de oro de los videos musicales, donde el concepto de video musical se convirtió en una pieza de arte audiovisual gracias al trabajo de famosos directores como Michel Gondry, Chris Cunningham o Mark Romanek. El desembarco en la industria cinematográfica de directores de prestigio procedentes del mundo de la música como Spike Jonze, David Fincher, Michel Gondry, Jonas Åkerlund y Michael Bay, entre otros, ha contribuido a la creación de una nueva estética cinematográfica que incorpora las propiedades del lenguaje audiovisual asociadas a los videos musicales..

Animation & Cartoons

An animated cartoon is a short, hand-drawn (or made with computers to look similar to something hand-drawn) moving picture for the cinema, TV or computer screen, featuring some kind of story or plot. Animation is the optical illusion of motion created by the consecutive display of images of static elements. In film and video production, this refers to techniques by which each frame of a film or movie is produced individually. Computer animation is the art of creating moving images via the use of computers. It is a subfield of computer graphics and animation. Anime is a medium of animation originating in Japan, with distinctive character and background aesthetics that visually set it apart from other forms of animation. An animated cartoon is a short, hand-drawn (or made with computers to look similar to something hand-drawn) moving picture for the cinema, TV or computer screen, featuring some kind of story or plot (even if it is a very short one). Manga is the Japanese word for comics and print cartoons. Outside of Japan, it usually refers specifically to Japanese comics. Special effects (abbreviated SPFX or SFX) are used in the film, television, and entertainment industry to visualize scenes that cannot be achieved by normal means, such as space travel. Stop motion is a generic gereral term for an animation technique which makes static objects appear to move

The Impossible Qualities Of Illusionary Spaces: Stop Motion Animation, Visual Effects And Metalepsis

This thesis examines stop motion animation, its role as a special effect and how the stop motion form impacts on narrative. In particular, it is concerned with the relationship between stop motion animation and the rhetorical concept of metalepsis, as well as the disruption and transgression of narrative spaces in fiction. The studio component of the work is an installation titled All The Nice Things Come From Here which uses an early film special effects technique, the Schüfftan process. The Schüfftan process is a form of in-camera compositing that uses mirrors to align two separate spaces to form the illusion of one cohesive space. The installation uses Newcastle’s light industrial landscape as a backdrop to create impossible miniature narrative spaces that can only be understood when the viewer is aligned to a station point forced by the placement of the mirrors. The theoretical portion of the thesis examines how this exploded view of an animated special effect can be used to explore ideas of narrative, narrative layers and the visual forms of stop motion animation. The thesis argues that object stop motion animation has aspects that are inherently metaleptic, as stop motion’s use of real objects doing impossible things creates its own subtle and impossible metaleptic spaces that simultaneously refer to both the world within the film and the world outside the film

The Advocate - Oct. 27, 1960

Original title (1951-1987)--The Advocate: official publication of the Archdiocese of Newark (N.J.)

The Art of Movies

Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences. Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or “picture”), the silver screen, photoplays, the cinema, picture shows, flicks — and commonly movies

La intermedialidad entre cómic y cine en la era digital

La progresiva penetración de la tecnología digital en el cine ha permitido una manipulabilidad de la imagen que transforma por completo el panorama de posibilidades expresivas y, con él, los límites de la intermedialidad y la intertextualidad con respecto a otros medios. En ese contexto, y durante las últimas décadas, la digitalización de la imagen ha habilitado un renovado marco expresivo en el que tanto autores como grandes productoras han revisado los lazos intermediales del cine con el cómic.La presente tesis doctoral parte de un estudio de las nociones de intermedialidad e intertextualidad y sus respectivos orígenes, al que sigue un recorrido por la historia de las relaciones intermediales entre cine y cómic, desde sus inicios hasta nuestros días. El grueso de la investigación se centra en las transformaciones más relevantes que el modelo de adaptación cinematográfico sobre el cómic ha experimentado durante ese tiempo, y principalmente en la elaboración de un catálogo de recursos expresivos que se constituyen como las nuevas herramientas digitales con las que el cine habilita nuevos trasvases desde el medio gráfico