Relevant bibliographies by topics / Animated photography

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Animated photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Animated photography.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Animated photography"

1

Herbert, Stephen. "Animated portrait photography." History of Photography 13, no. 1 (1989): 65–78. http://dx.doi.org/10.1080/03087298.1989.10442169.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.

Full text
Abstract:
This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a ‘desire to know’) and stimulate the viewer’s ‘pensive’ and ‘investigative’ engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary’s ‘expanded field’ (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.
APA, Harvard, Vancouver, ISO, and other styles
3

Clarke, David B., and Marcus A. Doel. "Shooting space, tracking time: the city from animated photography to vernacular relativity." cultural geographies 14, no. 4 (2007): 589–609. http://dx.doi.org/10.1177/1474474007082295.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.

Full text
Abstract:
Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
APA, Harvard, Vancouver, ISO, and other styles
5

Matthys, Mario, Laure De Cock, John Vermaut, Nico Van de Weghe, and Philippe De Maeyer. "An “Animated Spatial Time Machine” in Co-Creation: Reconstructing History Using Gamification Integrated into 3D City Modelling, 4D Web and Transmedia Storytelling." ISPRS International Journal of Geo-Information 10, no. 7 (2021): 460. http://dx.doi.org/10.3390/ijgi10070460.

Full text
Abstract:
More and more digital 3D city models might evolve into spatiotemporal instruments with time as the 4th dimension. For digitizing the current situation, 3D scanning and photography are suitable tools. The spatial future could be integrated using 3D drawings by public space designers and architects. The digital spatial reconstruction of lost historical environments is more complex, expensive and rarely done. Three-dimensional co-creative digital drawing with citizens’ collaboration could be a solution. In 2016, the City of Ghent (Belgium) launched the “3D city game Ghent” project with time as one of the topics, focusing on the reconstruction of disappeared environments. Ghent inhabitants modelled in open-source 3D software and added animated 3D gamification and Transmedia Storytelling, resulting in a 4D web environment and VR/AR/XR applications. This study analyses this low-cost interdisciplinary 3D co-creative process and offers a framework to enable other cities and municipalities to realise a parallel virtual universe (an animated digital twin bringing the past to life). The result of this co-creation is the start of an “Animated Spatial Time Machine” (AniSTMa), a term that was, to the best of our knowledge, never used before. This research ultimately introduces a conceptual 4D space–time diagram with a relation between the current physical situation and a growing number of 3D animated models over time.
APA, Harvard, Vancouver, ISO, and other styles
6

Панченко, Ирина Александровна. "Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 220–35. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.014.

Full text
Abstract:
В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры предоставляют возможность современному зрителю увидеть, а исследователю изучить, былое местоположение, прежние архитектурные формы и прошлое предназначение сооружений. На многочисленных снимках из собрания музея запечатлены в различных техниках и форматах не только исчезнувшие навсегда московские виды и памятники архитектуры, но и сохранившиеся знаковые достопримечательности, а также воссозданные относительно недавно знаменитые исторические объекты. Особый интерес представляют панорамные изображения: отдельные снимки, самостоятельные серии, единственные в своем роде фотоальбомы и уникальная многокадровая фотопанорама Москвы, снятая в 1867 г. с четырех колоколен строившегося храма Христа Спасителя. Впервые фотографии старинного города из собрания Русского музея были экспонированы в 2018 г. на второй выставке из цикла фотографической ретроспективы музея «Путешествия по Российской империи». The collection of the Russian Museum contains a unique pictorial series, which variously demonstrates the photographic image of Moscow from the period of 1860s – early 1900s. Many famous photographic companies and renowned photographers became its creators, among them: “Scherer, Nabholz & Co.”, “Russian Photography in Moscow”, A. P. Reinbot, I. F. Barshchevsky, I. N. Alexandrov and many others. Their interest in capturing the appearance of the ancient capital was extremely wide: photographs of views and fixing fragments of buildings and interiors, static architectural photography and dynamic scenes of everyday city life, large-format “August offerings” and democratic open letters (postcards). Photographed often from different viewpoints, in different years, these historical shots provide an opportunity for the modern viewer to see, and to researcher to study, the former location, old architectural forms and past purpose of the buildings. At the same time, many images of pre-revolutionary Moscow are exclusively architectural and interior photofixations. Only a small part of the works includes scenes of urban life. Numerous photographs from the museum’s collection depict in various phototechniques and formats not only the Moscow views and architectural monuments that have disappeared forever, but also preserved iconic sights, as well as demolished but recreated relatively recently famous historical sites: the Cathedral of Christ the Savior, the Resurrection Gate and the Iversky Chapel. An important place in the museum’s collection is occupied by photographs of the historical center of Moscow: buildings and monuments of the ancient Kremlin and Red Square, surrounded by picturesque architectural ensembles. Of particular interest are panoramic images: individual photographs, independent photographic series, one-of-a-kind photo albums. Certainly, an important place in this row belongs to the unique multi-frame photo panorama of Moscow, taken in 1867 from the bell towers and gallery of the Cathedral of Christ the Savior under construction by the masters of the famous Moscow-based photographic company “Scherer, Nabholz & Co.”. The ability to see the transformed and disappeared places of the city is also demonstrated by numerous open letters of views issued by publishers both as independent copies and by thematic series, both in monochrome and in color. Moreover, it is precisely the plots of open letters, in contrast to photographs, that are «animated» and filled with everyday city bustle. For the first time, materials (photographs, photo albums, postcards, reproductions) depicting the views of Moscow from the collection of the Russian Museum were exhibited in 2018 at the second exhibition from the series of a photographic retrospective of the museum “Traveling around Russian Empire”.
APA, Harvard, Vancouver, ISO, and other styles
7

Rahmi, Syarifah. "تدريس المفردات باستخدام الأفلام الكرتونية في الجامعة الهلال سجلي". 'Arabiyya: Jurnal Studi Bahasa Arab 9, № 1 (2020): 49. http://dx.doi.org/10.47498/arabiyya.v9i1.307.

Full text
Abstract:
Cartoon films are fun and simple art that is accomplished in the hands of children through colorful cardboard papers that are drawn and cut into parts and affixed to each other, then revived by photography and animation, and these drawings are stories from the lives of children and their dreams or stories that narrate the weave of their own imagination to finally end Animated film.So I found the problems in Al Hilal Colledge, that the teacher is unable to attract the attention of students during education and cannot excel students in the subject that he will teach, the poor preparation of Arabic language teachers in the teaching process, and his ignorance of teaching methods even the most students who are forced to absorb the Arabic language. As for the appropriate and interesting way in teaching Arabic to students, it is the teaching of vocabulary using animated films to help students understand educational materials in relationships and interconnections with their daily lives in terms of individual, societal and cultural in order to obtain what he wants from education.As for the research aims for this research, it is to find out the response of students using cartoon films at Al-HilalColledge. And to know the effect of using animated films on teaching vocabulary using a descriptive and qualitative approach. And to analyze the results using statistical analysis.
APA, Harvard, Vancouver, ISO, and other styles
8

Durden, Mark. "Light Catcher." Sophia Journal 5, no. 1 (2020): 90–95. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_09.

Full text
Abstract:
Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been photographing his home for thirty years and his pictures are full of hints and suggestions, traces of those who live and lived there. With people’s passing, he is now its sole occupant and the house has become more and more a portrait of his own imagining, his dream space. Finnemore photographs feelingly and describes his home as “a dreaming centre to divine and survey the spaces between darkness and stars”. Working with black and white film and the chemical-based printing process his richly toned prints explore the opposition and gradations between non-light and light, negative and positive, with all their symbolic implications. Like film, the house and its rooms are seen as receptive and responsive spaces. In Dream Traces a partly decorated wall above a bed is animated both by the gestural traces of darker paint upon it and lighter rectangular areas where posters and pictures were once attached. The wall is not blank but a field of different energy forces, the slow photographic effect of the darkening of the wall around the absent pictures against the more immediate brushmarks of house paint at its edges. The wall is also suggestive of an awakening state, the sense of something not fully coming into consciousness. This is in contrast to the relative order and geometry introduced by the wooden bars of the bedstead and the clarity of the singing and piercing detail of the white dot at the centre of an eye, painted on glass. This Greek mati, used to ward off evil, becomes the focal point of this picture and cue to many objects and elements in his pictures that are felt to be imbued with energies and powers beyond their material form. [...]
APA, Harvard, Vancouver, ISO, and other styles
9

Romakina, Maria. "«Elementary units» in Multimedia: Cinemagraphy in Mass Media and Blogs in the 2010s." Theoretical and Practical Issues of Journalism 9, no. 2 (2020): 247–63. http://dx.doi.org/10.17150/2308-6203.2020.9(2).247-263.

Full text
Abstract:
The article studies peculiarities of cinemagraphies - special types of images that appeared due to the development of digital technologies in the early 2010s and combine features of photography and video/cinema. Cinemagraphies are positioned as elementary multimedia units, and perception of these is technologically dependent: the viewer actively perceives not only the depicted image, but also the image-generating technology. Cinemagraphic way of seeing is not peculiar to human vision, its a «machines view». The author suggests defining the properties of these units, namely, multimediality, multimodality, affectivity of technological items, segmentary actuality and segmentary iconicity, hybrid temporality, visual variability; soundlessness; and poetic character, orientation to sensory perception. The duration of one cycle of cinemagraphies, according to the analysis, falls within the interval of 4-10 seconds. The effect exerted on the viewer is largely determined by the percentage of the animated area: if < 25 % of the frame area is animated, the focus is on the movement, while if > 50 %, it is on static objects perceived as «anomalous» in the flow of life. The use of cinemagraphies in the media as illustrative material has a precedent character nowadays. The author managed to detect 151 such cases. The article analyzes in detail some examples of cinemagraphies, published in The Guardian, The New York Times and other media, as well as in blogs in the period 2011-2019. The author defines the following criteria for the analysis: substantive, genre, structural, visual characteristics, functions and distribution channel.
APA, Harvard, Vancouver, ISO, and other styles
10

Novik, A. A. "Animated light painting: The public cabinets of camera obscura in St. Petersburg in the first years after the invention of photography." Shagi / Steps 3, no. 3 (2017): 108–25. http://dx.doi.org/10.22394/2412-9410-2017-3-3-108-125.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Animated photography"

1

Giedraitytė, Rūta. "„Epizodas. Siekis“. Stop kadrais animuota fotografija." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110803_092305-37400.

Full text
Abstract:
Šiame darbe analizuojami optinio meno, stop kadro animacijos veikimo principai, žmogaus gyvenimo momento svarba bei lentikuliarinės spaudos technologija, autorės nuomone, turintys sąsają su jos kurta animuota fotografija. Žmogaus trumpos nenutrūkstamo, ištisinio gyvenimo dalelės aktualumas kūrybiniame darbe virsta meniniu objektu, turinčiu aiškią motyvaciją, priežastis bei tikslus. Kūrybinio darbo dalyje pateikiama stop kadrais animuota fotografija. Darbas atspausdintas modernia technika, vienu iš naujausių spaudos būdų Lietuvoje – lentikuliarine spauda. Šis spaudos būdas atveria platesnes ir efektyvesnes galimybes, suteikiant darbui šiuolaikiškumo, išskirtinumo, originalumo bei skatina kurti naujas ir aktualias idėjas. Žiūrovui, stebinčiam animuotą fotografiją, suteikiama galimybė pristabdyti, sugrįžti atgal arba pakartoti reginį. Jis pats kontroliuoja žiūrėjimo kampą bei tempą, suvokdamas imituojamą judesį.<br>Here is analyzed optical art, stop-frame animation’s principle, the moment of importance in human life and lenticular press technology in this work. According to the author, all it has connection with her created work. The relevance of particles of human short-continuous life into the creative work becomes an artistic object with a clear motivation for the reasons and goals. Here is introduced stop motion animated photography in creative work park. The work is printed by modern technology, one of the newest ways to press in Lithuania - lenticular press. This printing method offers a wider and more effective option, giving modernity, exclusivity, originality for the work and encourages the development of new and relevant ideas. The viewer, who is observing an animated photography, has a opportunity to pause, go back or repeat the view. He controls the viewing angle and tempo, aware of the simulated motion.
APA, Harvard, Vancouver, ISO, and other styles
2

CRAWFORD, AARON. "sites for sight: Another projection for the surface of contemporary architecture." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053376672.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dasnias, Philippe. "Successions végétales : synthèse bibliographique et dynamisme à l'ubac montagnard de la Moyenne Tarentaise (Savoie)." Grenoble 1, 1987. http://www.theses.fr/1987GRE10047.

Full text
Abstract:
Etude du dynamisme vegetal resultant de l'abandon des prairies de fauche. Une analyse de photographies aeriennes de 1956 a 1982 conduit a une approche diachronique: evaluation et cartographie, extrapolation par matrices de transition et determinisme de la vitesse de recolonisation ligneuse. Une approche synchronique est realisee sur la base de 113 releves floristiques et 200 releves phanerophytiques; grace a des analyses multidimensionnelles, on definit floristiquement, ecologiquement et phytosociologiquement, 8 successions, reparties en voies "typiques" et voies "par contagion depuis les lisieres
APA, Harvard, Vancouver, ISO, and other styles
4

BARKEY, ROLAND ALEXANDER. "Etudes des mangroves de l'indo-malaisie et application des techniques de la teledetection a sulawesi." Toulouse 3, 1987. http://www.theses.fr/1987TOU30228.

Full text
Abstract:
L'objet de cette recherche est de tenter de caracteriser les mangroves des regions equatoriales humides sur le terrain et a partir d'enregistrements spatiaux. Dans la premiere partie, une synthese biogeographique sur les peuplements de paletuviers permet de faire apparaitre et de comprendre les variations des types de mangroves et de situer les mangroves indonesiennes dans un contexte plus general. La deuxieme partie represente une etude sur les mangroves du golfe de bone a sulawesi (indonesie)
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Animated photography"

1

3D and animated lenticular photography: Between Utopia and entertainment. Walter De Gruyter GmbH, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Matuszewski, Bolesław. A n ew source of history. Animated photography, what it is, what it should be. Filmoteka Narodowa, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

al-Rusūm al-mutaḥarrikah fī mīzān al-sharīʻah. s.n., 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Muybridge, Eadweard. The human figure in motion: A source book of sequential action images by a master photographer. Bonanza Books, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Muybridge, Eadweard. The human figure in motion: A source book of sequential action images by a master photographer. Bonanza Books, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Beck, Jeanine. Los animales: An introduction to commonly used Spanish words and phrases about animal friends, with more than 425 lively photographs. Southwater, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Braun, Marta. Picturing time: The work of Etienne-Jules Marey (1830-1904). University of Chicago Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Muybridge, Eadweard. Animals in motion. Dover Publications, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Swinburne, Stephen R. Muchas, muchísimas rayas de cebra =: Lots and lots of zebra stripes. Boyds Mill Press, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Making an Animated Movie. North Star Editions, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Animated photography"

1

Blos-Jáni, Melinda. "Photographic Passages to the Past in Eastern European Non-Fiction Films." In Caught In-Between. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474435499.003.0007.

Full text
Abstract:
There is a tendency in recent nonfiction film to recontextualise archival photographs in creative ways. In films like Felvidék. Caught In-Between (Vladislava Plančíková, 2014) photographs are part of a collage work, while films like Crulic. The Path to Beyond (Anca Damian, 2011) use photographs in animated environments. At the other extreme is Radu Jude's Dead Nation (2017) presenting a series of photographs as a film that paradoxically demonstrates the lack of images of the Romanian Holocaust. These films open up new possibilities for the medium of photography, redefining through cinema the complex relationship between photography/the indexical trace and history. This chapter builds upon the phenomenological approach to images by George Didi-Hubermann and László Tarnay in order to discuss intermedial relations of nonfiction films and to present what the photographic image means in the post-media age documentary.
APA, Harvard, Vancouver, ISO, and other styles
2

"Chapter 3: A Window onto the World." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"ACKNOWLEDGEMENTS." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"INTRODUCTION." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

"Chapter 1: Stereoscopy without a Stereoscope." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Chapter 2: Cinema in a Single Photo." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Chapter 4: 3D Portraiture and the Integral-Image Utopia." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

"Chapter 5: Lights, Color, Action! Point-of-Sale Advertising." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Chapter 6: A Lenticular Image in Every Home: Promotional Premiums." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Chapter 7: The 3D Postcard." In 3D and Animated Lenticular Photography. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110448061-009.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Animated photography"

1

Abe, Atsushi, Kazuyoshi Takayama, Osamu Onodera, Hidenori Ojima, and Toshihiro Ogawa. "Animated display of sequential holographic interferograms of shock-wave/vortex interaction in a confined space." In Twenty-Third International Congress on High-Speed Photography and Photonics, edited by Valentina P. Degtyareva, Mikhail A. Monastyrski, Mikhail Y. Schelev, and Alexander V. Smirnov. SPIE, 1999. http://dx.doi.org/10.1117/12.350504.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Delplancq, Véronique, Ana Maria Costa, Cristina Amaro Costa, et al. "STORYTELLING AND DIGITAL ART AS A MEANS TO IMPROVE MULTILINGUAL SKILLS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end073.

Full text
Abstract:
The use of storytelling and digital art as tools to understand a migrant family’s life path will be in the center of an innovative methodology that will ensure the acquisition of multilingual skills and the development of plurilingual awareness, reinforcing the various dimensions of language (aesthetic and emotional, in addition to cognitive), in a creative, collaborative and interdisciplinary work environment. This is especially important among students who are not likely to receive further language training. It is not yet clear how teachers can explore multilingual experiences of learners, both in terms of language learning dimensions but also related with the multiple cognitive connections and representations, as well as to the awareness of language diversity. The JASM (Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior) project involves a group of students of the 1st cycle in Media Studies, from the School of Education of Viseu, who will work using photography, digital art and cultural communication, collecting information pertaining to diversified cultural and linguistic contexts of the city of Viseu (Beira Alta, Portugal), both in French and English, centered on a tradition or ritual of a migrant family. Based on an interview, students write the story (in French and English) of the life of migrants and use photography to highlight the most relevant aspect of the migrant’s family life. Using as a starting point an object associated with religion, tradition or a ritual, students create an animated film, in both languages. This approach will allow the exploration of culture and digital scenography, integrating in an innovative interdisciplinary pathway, digital art, multilingual skills and multicultural awareness. Students’ learning progress and teacher roles are assessed during this process, using tests from the beginning to the end of the project.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Animated photography' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography