Cinematic Articulation in Motion Graphics

Cinematic Articulation in Motion Graphics

This book develops a critical and theoretical approach to the semiotics of motion pictures as they are applied to a broader range of constructions than traditional commercial narrative productions.

Author: Michael Betancourt

Publisher:

ISBN: 1032037008

Category: Animation (Cinematography)

Page: 248

View: 142

This book develops a critical and theoretical approach to the semiotics of motion pictures as they are applied to a broader range of constructions than traditional commercial narrative productions. This interdisciplinary approach begins with the problems posed by motion perception to develop a model of cinematic interpretation that includes both narrative and non-narrative types of productions. Contrasting traditional theatrical projection and varieties of new media, this book integrates analyses of title sequences, music videos, and visual effects with discussions on classic and avant-garde films. It further explores the intersection between formative audio-visual cues identified by viewers and how viewers' desires direct engagement with the motion picture to present a framework for understanding cinematic articulation. This new theoretical model incorporates much of what was neglected and gives greater prominence to formerly critical marginal productions by showing the fundamental connections that link all moving imagery and animated text, whether it tells a story or not. This insightful work will appeal to students and academics in film and media studies.
Categories: Animation (Cinematography)

Cinematic Articulation in Motion Graphics

Cinematic Articulation in Motion Graphics

commercial assimilation of the avant-garde film becomes apparent in the relationship between the multiple projection practices of “expanded cinema” and contemporary “projection mapped” motion graphics; however, other dimensions of ...

Author: Michael Betancourt

Publisher: CRC Press

ISBN: 9781000438444

Category: Art

Page: 230

View: 246

This book develops a critical and theoretical approach to the semiotics of motion pictures as they are applied to a broader range of constructions than traditional commercial narrative productions. This interdisciplinary approach begins with the problems posed by motion perception to develop a model of cinematic interpretation that includes both narrative and non-narrative types of productions. Contrasting traditional theatrical projection and varieties of new media, this book integrates analyses of title sequences, music videos, and visual effects with discussions on classic and avant-garde films. It further explores the intersection between formative audio-visual cues identified by viewers and how viewers’ desires direct engagement with the motion picture to present a framework for understanding cinematic articulation. This new theoretical model incorporates much of what was neglected and gives greater prominence to formerly critical marginal productions by showing the fundamental connections that link all moving imagery and animated text, whether it tells a story or not. This insightful work will appeal to students and academics in film and media studies.
Categories: Art

Ideologies of the Real in Title Sequences Motion Graphics and Cinema

Ideologies of the Real in Title Sequences  Motion Graphics and Cinema

an encultured phenomenon reveals the connection between them was not initially an axiomatic given for audience interpretations of early film. What informs the historical apprehension of early film before this articulation of the 'long ...

Author: Michael Betancourt

Publisher: Routledge

ISBN: 9780429534300

Category: Art

Page: 248

View: 563

This book explores the question of realism in motion pictures. Specifically, it explores how understanding the role of realism in the history of title sequences in film can illuminate discussions raised by the advent of digital cinema. Ideologies of the Real in Title Sequences, Motion Graphics and Cinema fills a critical and theoretical void in the existing literature on motion graphics. Developed from careful analysis of André Bazin, Stanley Cavell, and Giles Deleuze’s approaches to cinematic realism, this analysis uses title sequences to engage the interface between narrative and non-narrative media to consider cinematic realism in depth through highly detailed close readings of the title sequences for Bullitt (1968), Kolchak: The Night Stalker (1974), The Number 23 (2007), The Kingdom (2008), Blade Runner: 2049 (2017) and the James Bond films. From this critique, author Michael Betancourt develops a modal approach to cinematic realism where ontology is irrelevant to indexicality. His analysis shows the continuity between historical analogue film and contemporary digital motion pictures by developing a framework for rethinking how realism shapes interpretation.
Categories: Art

Animated Film and Disability

Animated Film and Disability

Now that scholars and practitioners no longer have to justify animation as an artistic form, they are free to discuss it as a unique form that communicates differently with its spectators. In her articulation of film as an experiment in ...

Author: Slava Greenberg

Publisher: Indiana University Press

ISBN: 9780253064516

Category: Performing Arts

Page: 223

View: 748

While many live-action films portray disability as a spectacle, "crip animation" (a genre of animated films that celebrates disabled people's lived experiences) uses a variety of techniques like clay animation, puppets, pixilation, and computer-generated animation to represent the inner worlds of people with disabilities. Crip animation has the potential to challenge the ableist gaze and immerse viewers in an alternative bodily experience. In Animated Film and Disability, Slava Greenberg analyzes over 30 animated works about disabilities, including Rocks in My Pockets, An Eyeful of Sound, and A Shift in Perception. He considers the ableism of live-action cinematography, the involvement of filmmakers with disabilities in the production process, and the evocation of the spectators' senses of sight and hearing, consequently subverting traditional spectatorship and listenership hierarchies. In addition, Greenberg explores physical and sensory accessibility in theaters and suggests new ways to accommodate cinematic screenings. Offering an introduction to disability studies and crip theory for film, media, and animation scholars, Animated Film and Disability demonstrates that crip animation has the power to breach the spectator's comfort, evoking awareness of their own bodies and, in certain cases, their social privileges.
Categories: Performing Arts

Title Sequences as Paratexts

Title Sequences as Paratexts

Representation is both historically and socially contingent.6 This book emerged from the same disparate historical analysis of articulation in motion graphics as my earlier critiques of cinematic semiosis: Semiotics and Title Sequences: ...

Author: Michael Betancourt

Publisher: Routledge

ISBN: 9781351329477

Category: Art

Page: 162

View: 996

In his third book on the semiotics of title sequences, Title Sequences as Paratexts, theorist Michael Betancourt offers an analysis of the relationship between the title sequence and its primary text—the narrative whose production the titles credit. Using a wealth of examples drawn from across film history—ranging from White Zombie (1931), Citizen Kane (1940) and Bullitt (1968) to Prince of Darkness (1987), Mission: Impossible (1996), Sucker Punch (2011) and Guardians of the Galaxy, Vol. 2 (2017)—Betancourt develops an understanding of how the audience interprets title sequences as instances of paranarrative, simultaneously engaging them as both narrative exposition and as credits for the production. This theory of cinematic paratexts, while focused on the title sequence, has application to trailers, commercials, and other media as well.
Categories: Art

Typography and Motion Graphics The Reading Image

Typography and Motion Graphics  The  Reading Image

In his latest book, Michael Betancourt explores the nature and role of typography in motion graphics as a way to consider its distinction from static design, using the concept of the ‘reading-image’ to model the ways that motion ...

Author: Michael Betancourt

Publisher: Routledge

ISBN: 9780429627835

Category: Art

Page: 156

View: 678

In his latest book, Michael Betancourt explores the nature and role of typography in motion graphics as a way to consider its distinction from static design, using the concept of the ‘reading-image’ to model the ways that motion typography dramatizes the process of reading and audience recognition of language on-screen. Using both classic and contemporary title sequences—including The Man With the Golden Arm (1955), Alien (1979), Flubber (1998), Six Feet Under (2001), The Number 23 (2007) and Scott Pilgrim vs. The World (2010)—Betancourt develops an argument about what distinguishes motion graphics from graphic design. Moving beyond title sequences, Betancourt also analyzes moving or kinetic typography in logo designs, commercials, film trailers, and information graphics, offering a striking theoretical model for understanding typography in media.
Categories: Art

Design in Motion

Design in Motion

different notions of film , as we will see , student works produced in their courses offered a seismographic ... in fact , can be seen as an early site of the articulation of motion studies at the school , which by 1922 turned into ...

Author: Laura A. Frahm

Publisher: MIT Press

ISBN: 9780262045186

Category: Art

Page: 429

View: 196

The first comprehensive history in English of film at the Bauhaus, exploring practices that experimented with film as an adaptable, elastic “polymedium.” With Design in Motion, Laura Frahm proposes an alternate history of the Bauhaus—one in which visual media, and film in particular, are crucial to the Bauhaus’s visionary pursuit of integrating art and technology. In the first comprehensive examination in English of film at the Bauhaus, Frahm shows that experimentation with film spanned a range of Bauhaus practices, from textiles and typography to stage and exhibition design. Indeed, Bauhausler deployed film as an adaptable, elastic “polymedium,” malleable in shape and form, unfolding and refracting into multiple material, aesthetic, and philosophical directions. Frahm shows how the encounter with film imbued the Bauhaus of the 1920s and early 1930s with a flexible notion of design, infusing painting with temporal concepts, sculptures with moving forms, photographs with sequential aesthetics, architectural designs with a choreography of movement. Frahm considers, among other things, student works that explored light and the transparent features of celluloid and cellophane; weaving practices that incorporate cellophane; experimental films, social documentaries, and critical reportage by Bauhaus women; and the proliferation of film strips in posters, book covers, and other typographic work. Viewing the Bauhaus’s engagement with film through a media-theoretic lens, Frahm shows how film became a medium for “design in motion.” Movement and process, rather than stability and fixity, become the defining characteristics of Bauhaus educational, aesthetic, and philosophical ethos.
Categories: Art

Between Film Video and the Digital

Between Film  Video  and the Digital

Similarly, Baker uses the concept of “dual articulation” to single out this type of image, in which film and ... the “conjuncture” or “dual articulation” of film and photography through their transitions between stasis and motion.

Author: Jihoon Kim

Publisher: Bloomsbury Publishing USA

ISBN: 9781628922929

Category: Art

Page: 416

View: 676

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.
Categories: Art

Hollis Frampton

Hollis Frampton

animation than of classic montage . " : 13 Cadenza I employs a set of moving graphic forms that , while marking the point of cinematic articulation , create the sense of continuous transition , miming perhaps the continuous turning of ...

Author: Michael Zryd

Publisher: MIT Press

ISBN: 9780262369251

Category: Art

Page: 296

View: 343

The first collection of critical writing on the work of experimental filmmaker Hollis Frampton. Hollis Frampton (1936–1984) was one of the most important experimental filmmakers and theorists of his time, and in his navigation of artistic media and discourses, he anticipated the multimedia boundary blurring of today’s visual culture. Indeed, his photography continues to be exhibited, and a digital edition of his films was issued by the Criterion Collection. This book offers the first collection of critical writings on Frampton’s work. It complements On the Camera Arts and Consecutive Matter, published in the MIT Press’s Writing Art series, which collected Frampton’s own writings. October was as central to Frampton as he was to it. He was both a frequent contributor—appearing in the first issue in 1976—and a frequent subject of contributions by others. Some of these important and incisive writings on Frampton’s work are reprinted here. The essays collected in this volume consider Frampton’s photographic practice, which continued even after he turned to film; survey his film work from the 1960s to the late 1970s; and explore Frampton’s grounding in poetics and language. Two essays by the late Annette Michelson, one of the twentieth century’s most influential writers on experimental film, place Frampton in relation to film and art history. Contributors George Derk, Ken Eisenstein, Hollis Frampton, Peter Gidal, Barry Goldensohn, Brian Henderson, Bruce Jenkins, Annette Michelson, Christopher Phillips, Melissa Ragona, Allen S. Weiss, Federico Windhausen, Lisa Zaher, Michael Zryd
Categories: Art

Wounded Studies in Literary and Cinematic Trauma

Wounded  Studies in Literary and Cinematic Trauma

Transnational Memory: Circulation, Articulation, Scales. Berlin and Boston: Walter de ... Private Narratives and Infant Views: Iconizing 1970s Militancy in Contemporary Argentine Cinema. ... Writing for Animation, Comics, and Games.

Author: Gail Finney

Publisher: MDPI

ISBN: 9783038429357

Category: Electronic books

Page: 145

View: 471

This book is a printed edition of the Special Issue "Wounded: Studies in Literary and Cinematic Trauma" that was published in Humanities
Categories: Electronic books