Academic literature on the topic 'Cinematics video Game'
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Journal articles on the topic "Cinematics video Game"
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Geslin, Erik, Olivier Olivier Bartheye, Colin Schmidt, Katy Tcha Tokey, Teerawat Kulsuwan, Salah Keziz, and Tanguy Belouin. "Bernardo Autonomous Emotional Agents Increase Perception of VR Stimuli." Network and Communication Technologies 5, no. 1 (January 6, 2020): 11. http://dx.doi.org/10.5539/nct.v5n1p11.
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Video games are high emotional vectors. They play with the emotions of players by eliciting and increasing them. The importance of the induction of basic emotions has been a long forestay and is favoured by video game publishers, as they are quite easily mobilized. Video game publishers look to produce more complex social emotions like empathy, and compassion. In games framework with narrative context, designers frequently use cinema movies methods, like cinematic non-interactive Cutscenes. These methods temporarily exclude the player from interactivity to leave his first viewpoint view and move the camera focusing on the narrative stimuli. Cutscenes were used abundantly and are now rejected, the new development wave is often trying to develop in a “zero cinematic” way. For the same reason, cinematics are also not usable in new Virtual Reality. If VR games and simulations provides a high level of presence, VR environments needs certain rules related in particular to the continuation of free will and the avoidance of possible Break in Presence. We propose in this paper a concept of Emotionally Intelligent Virtual Avatars, which when they perceive an important narrative stimulus, share their emotions through, gestures, facial nonverbal expressions, and declarative sentences to stimulate the player's attention. This will lead players to focus on the narrative stimuli. Our research studies the impact of the use of Bernardo Agents Emotional Avatars involving n = 51 users. The statistical analysis of the results shows a significant difference in the narrative perception of the stimuli and in Presence, correlated to the use of Agents Bernardo. Overall, our emotional Agent Bernardo is a unique concept for increasing the perception of narrative stimuli in virtual environments using HMD, and may be useful in all virtual environments using an emotional narrative process.
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Kharisma, Bethoven. "Analisis Komposisi Soundtrack dalam Video Game “Genshin Impact”." Indonesian Journal of Performing Arts Education 1, no. 2 (July 31, 2021): 12–15. http://dx.doi.org/10.24821/ijopaed.v1i2.5432.
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Role-playing games merupakan merupakan salah satu genre utama dari sebagian banyak game dan ada dalam bentuk dan format yang berbeda. Dalam sebuah game cenderung menggunakan musik cinematic yang mampu membawa suasana dan emosi kepada pemain game tersebut. Pemilihan soundtrack Genshin Impact pada “Main Theme: from The Wind and The Star Traveler” sebagai objek penelitian dikarenakan penataan musik cinematic yang megah. Penelitian kualitatif deskriptif ini memiliki tujuan untuk menganalisis teknik pengolahan komposisi dari soundtrack tersebut. Metode yang digunakan adalah studi diskografi, studi literatur, dan observasi. Hasil menunjukkan bahwa soundtrack “Main Theme” pada Genshin Impact dimainkan dakam tonalitas D Mayor dengan tempo 82 bpm. Dalam soundtrack Main Theme terdiri dari beberapa bagian yaitu, intro, verse, chorus, dan outro. Elemen musik pada soundtrack Main Theme juga diketahui berdasarkan ritme, dinamika, harmoni, tekstur, dan bentuk. Musik soundtrack tersebut mengandung suasana yang sederhana tapi megah dari penggunaan tonalitas mayor, poliritme, dan pengembangan motif utama yang memperkaya. Role-playing games are one of the main genres of many games and come in many different forms and formats. A game tends to use cinematic music that can bring atmosphere and emotions to the game's players. The selection of the Genshin Impact soundtrack on "Main Theme: from The Wind and The Star Traveler" as the object of research is due to the magnificent cinematic music arrangement. This descriptive qualitative study aims to analyze the compositional processing techniques of the soundtrack. The method used is discography study, literature study, and observation. The results show that the “Main Theme” soundtrack on Genshin Impact is played in a D Major tonality with a tempo of 82 bpm. The Main Theme soundtrack consists of several parts: intro, verse, chorus, and outro. The musical elements in the Main Theme soundtrack are also known based on rhythm, dynamics, harmony, texture, and form. The soundtrack's music contains a simple but majestic atmosphere of the enriching use of major tonality, polyrhythm, and development of central motifs.
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Zanotti, Pierantonio. "Playing the (International) Movie: Intermediality and the Appropriation of Symbolic Capital in Final Fight and the Beat ’em up Genre." Eludamos: Journal for Computer Game Culture 9, no. 1 (September 19, 2018): 47–74. http://dx.doi.org/10.7557/23.6165.
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Final Fight (Capcom 1989) is a famous example of a video game genre generally known as “beat ’em up” or “brawler,” a type of action game where the player character must fight a large number of enemies in unarmed combat or with melee weapons. The side-scrolling beat ’em up genre reached the peak of its global popularity in the late 1980s and early 1990s, a period sometimes referred to as the genre’s “golden age.” Set in a contemporary, urban setting, Final Fight has a storyline that revolves around three playable heroes who attempt to rescue a young woman from the clutches of a criminal gang. Although likely the most influential and among the best games in this genre, Final Fight did not found the beat ’em up genre by itself: it was produced within the context of a specific, albeit recent, textual tradition and canon. This canon consisted of texts produced within the same medium (i.e. other video games, mostly of Japanese production) but also drew from an intermedial corpus. In its design and narrative tropes, Final Fight inherited and incorporated a number of elements from Hollywood action cinema that had been translated into the newer digital medium of video game. To trace a history of the beat ’em up genre from its origins to Final Fight, I address in this paper questions on three levels. On the intertextual level, what are the textual antecedents of Final Fight? What were the formal and stylistic conditions of possibility for this game within the history of the genre and the medium? What are the game’s intermedial connections, especially with films? To answer these questions, I trace a tentative genealogy, focusing on the narrative and representational elements of the game. Specifically, I examine storylines, characters and settings and their relationship with the structural properties of beat ’em up gameplay. On the “(v)ideological” (Gottschalk 1995) level, what value systems are put into play in a classic beat ’em up game? In what ways are the player’s choices axiologised? What conduct is rewarded or sanctioned? Which actions can the player’s avatar perform, and for which purposes? In what contemporary discursive formations did Final Fight participate as a textual device for the actualisation of ideologically non-neutral fictional conduct? I attempt to map the value system inscribed in this video game genre that, in turn, articulates it as a game (i.e. as a system of stakes, rules, sanctions, and rewards). On the historical level, what were the industrial and commercial conditions entailed in the production of a game such as Final Fight? To the (actual or virtual) satisfaction of what demands, both material and symbolic, was it designed? Answering these questions calls for an analysis of the so-called “context,” which I consider to be a historical and social meta-narrative. In this respect, my research mostly focuses geographically and historically on the Japanese video game market of the 1980s and its transnational connections. Starting with the (mainly cinematic) dissemination of transnational imaginaries of “street violence” and “vigilantism” against the background of large, modern American cities during the 1970s and 1980s, I attempt to show that Final Fight is an instance of the incorporation of these imaginaries into video games. More generally, I argue that, with various degrees of success, the classic beat ’em up games produced in Japan carried out a function of symbolic appropriation and redistribution at a local level as they remediated a cinematic textual canon (which was, for a significant part, of foreign origin) into the video game medium. As video games, these texts shifted the focus of this appropriation from spectatorship to the forms of active agency prescribed in gameplay. The player thus appropriated control not only on a character in a game but also of an entire cinematic canon which, in the Japanese context, appeared rich in symbolic capital and marked by “American-ness.” The movies that inspired the classic beat ’em up came from Hollywood, one of the “Greenwich Meridians” (Casanova 2004) in the global cultural industry during the 1970s and 1980s, likely the last decades of what some scholars have called “the era of high Americanization” (Iwabuchi 2002). Video games were, in other words, the means by which a portion of the Japanese cultural industry could so successfully appropriate the symbolic capital of Hollywood products that these Japanese games transcended the borders of the Japanese national market and became big hits in the “West.”
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Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.
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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.
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CENCIARELLI, CARLO. "At the Margins of the Televisual: Picture Frames, Loops and ‘Cinematics’ in the Paratexts of Opera Videos." Cambridge Opera Journal 25, no. 2 (June 4, 2013): 203–23. http://dx.doi.org/10.1017/s0954586713000074.
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AbstractThis article focuses on the paratexts of opera DVDs as a route into the status and cultural placement of opera videos in contemporary visual culture. In particular, it analyses the picture covers, menus and openings credits of four productions of Verdi's Don Carlo, arguing that, although the videos fall within the broader discourse of the ‘televisual’ (a discourse that encourages the viewer to conceive the image as a transparent document of the performance on-stage), these paratexts put forward alternative ways of conceiving the relationship between medium and subject matter, imagining opera's materials, however briefly, in terms of narrative cinema and music video, video games and computer loops.
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Sikorska, Joanna. "TRAILERY GIER WIDEO. ANALIZA CECH FORMALNYCH I GATUNKOWYCH." Studia Europaea Gnesnensia, no. 17 (June 15, 2018): 205–30. http://dx.doi.org/10.14746/seg.2018.17.12.
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The paper aims to outline the formal and genre features of video game trailers, analyzing those using animation and gameplay scenes, as well as material combining both elements. The author focuses on cinematic devices in such trailers and discusses the differences between video game trailers and trailers promoting movie productions.
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Barr, Matthew. "The Force Is Strong with This One (but Not That One): What Makes a Successful Star Wars Video Game Adaptation?" Arts 9, no. 4 (December 16, 2020): 131. http://dx.doi.org/10.3390/arts9040131.
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The Star Wars films have probably spawned more video game adaptations than any other franchise. From the 1982 release of The Empire Strikes Back on the Atari 2600 to 2019’s Jedi: Fallen Order, around one hundred officially licensed Star Wars games have been published to date. Inevitably, the quality of these adaptations has varied, ranging from timeless classics such as Star Wars: Knights of the Old Republic, to such lamentable cash grabs as the Attack of the Clones movie tie-in. But what makes certain ludic adaptations of George Lucas’ space opera more successful than others? To answer this question, the critical response to some of the best-reviewed Star Wars games is analysed here, revealing a number of potential factors to consider, including the audio-visual quality of the games, the attendant story, and aspects of the gameplay. The tension between what constitutes a good game and what makes for a good Star Wars adaptation is also discussed. It is concluded that, while many well-received adaptations share certain characteristics—such as John Williams’ iconic score, a high degree of visual fidelity, and certain mythic story elements—the very best Star Wars games are those which advance the state of the art in video games, while simultaneously evoking something of Lucas’ cinematic saga.
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Makai, Péter. "Video Games as Objects and Vehicles of Nostalgia." Humanities 7, no. 4 (November 25, 2018): 123. http://dx.doi.org/10.3390/h7040123.
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Barely 50 years old, video games are among the newest media today, and still a source of fascination and a site of anxiety for cultural critics and parents. Since the 1970s, a generation of video gamers have grown up and as they began to have children of their own, video games have become objects evoking fond memories of the past. Nostalgia for simpler times is evident in the aesthetic choices game designers make: pixelated graphics, 8-bit music, and frustratingly hard levels are all reminiscent of arcade-style and third-generation console games that have been etched into the memory of Generation X. At the same time, major AAA titles have become so photorealistic and full of cinematic ambition that video games can also serve as vehicles for nostalgia by “faithfully” recreating the past. From historical recreations of major cities in the Assassin’s Creed series and L. A. Noire, to the resurrection of old art styles in 80 Days, Firewatch or Cuphead all speak of the extent to which computer gaming is suffused with a longing for pasts that never were but might have been. This paper investigates the design of games to examine how nostalgia is used to manipulate affect and player experience, and how it contributes to the themes that these computer games explore. Far from ruining video games, nostalgia nonetheless exploits the associations the players have with certain historical eras, including earlier eras of video gaming. Even so, the juxtaposition of period media and dystopic rampages or difficult levels critically comment upon the futility of nostalgia.
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Kiani, Vahid, and Hamid Reza Pourreza. "An Effective Slow-Motion Detection Approach for Compressed Soccer Videos." ISRN Machine Vision 2012 (March 25, 2012): 1–8. http://dx.doi.org/10.5402/2012/959508.
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Slow-motion replays are content full segments of broadcast soccer videos. In this paper, we propose an efficient method for detection of slow-motion shots produced by high-speed cameras in soccer broadcasts. A rich set of color, motion, and cinematic features are extracted from compressed video by partial decoding of the MPEG-1 bitstream. Then, slow-motion shots are modeled by SVM classifiers for each shot class. A set of six full-match soccer games is used for training and evaluation of the proposed method. Our algorithm presents satisfactory results along with high speed for slow-motion detection in soccer videos.
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Pettini, Silvia. "Auteurism and game localization — revisiting translational approaches." Culture & Society issue 4, no. 2 (December 31, 2015): 268–88. http://dx.doi.org/10.1075/ts.4.2.05pet.
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In the fertile ground between cinema and video games, Hideo Kojima’s Metal Gear Solid saga stands out for its auteur’s clear tendency to use film language and aesthetics and for his evident inspiration from pop culture and the American cinematic tradition. Moreover, the series is rich in quotations meant to pay tribute to cinema and communicate with movie-cultured players intertextually. With regard to the process of localization, auteurist references to film culture represent a constraint for translators rendering Kojima’s game into different languages for a Metal Gear Solid-educated audience. This paper presents a comparative analysis of some film quotations in their English into Italian and Spanish localizations of Kojima’s Metal Gear Solid series in order to demonstrate the importance of loyalty to the game experience as a whole within a translational-cultural approach to localization.
Dissertations / Theses on the topic "Cinematics video Game"
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Girina, Ivan. "Cinematic games : the aesthetic influence of cinema on video games." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/74038/.
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During its first decade, Game Studies debate mainly revolved around the juxtaposition between two perspectives: the one of ludology and the one of narratology, each positing a primary quality of video games against the other. The study of the relationship between cinema and video games got somehow caught in the crossfire between these two fields. In this work, I investigate the extent to which representation in video games is connected to cinema and its representational codes. A number of authors before challenged this assumption, theorising models that only partially connect the cinematic form to video games. Such investigations have always started from the ludologically educated assumption that video games are different from cinema and, therefore, for the premises of this comparison to be considered “vitiated”, only tangentially useful due to the irreconcilably different nature of the two media. The adjective “cinematic” is a concept constantly evoked in cultural discourses concerning video games. Magazines, reviewers, critics, but also designers, artists, users and commentators (even scholars) often summon the idea of cinematic games in the attempt of describing some peculiar features that share affinities with films and suggesting that video games possess the aura of the big screen. Cinematic games are born at the crossroads between interactive movies and video games, for which the cinematic expression is retained by means of audiovisual representation while keeping the action in the hands of the player. Due to the vast scale of the subject, my work focuses on relatively recent developments in game design which have yet to be fully investigated, and seeks to extend existing attempts to apply the tools of film theory to Game Studies. A secondary value of this work is an annotation on the disengagement of moving image scholars with video games, and it partly serves as an invocation for this to change.
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Meeder, Ian Harris. "Intelligent Cinematic Camera Control for Real-Time Graphics Applications." DigitalCommons@CalPoly, 2020. https://digitalcommons.calpoly.edu/theses/2120.
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E-sports is currently estimated to be a billion dollar industry which is only growing in size from year to year. However the cinematography of spectated games leaves much to be desired. In most cases, the spectator either gets to control their own freely-moving camera or they get to see the view that a specific player sees. This thesis presents a system for the generation of cinematically-pleasing views for spectating real-time graphics applications. A custom real-time engine has been built to demonstrate the effect of this system on several different game modes with varying visual cinematic constraints, such as the rule of thirds. To create the cinematic views, we encode cinematic rules as cost functions that are fed into a non-linear least squares solver. These cost functions rely on the geometry of the scene, minimizing residuals based on the 3D positions and 2D reprojections of the geometry. The final cinematic view is found by altering camera position and angle until a local minimum is met. The system was evaluated by comparing video output from a traditional rigidly constrained camera and the results of our algorithm’s optimally solved views. User surveys are then used to qualitatively evaluate the system. The results of these surveys do not statistically find a preference between the cinematic views and the rigidly constrained views. In addition, we present performance and timing considerations for the system, reporting that the system can operate within modern expectations of latency when enough constraints are placed on the non-linear least squares solver.
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Hall, Stefan. "“You’ve Seen the Movie, Now Play the Game”: Recoding the Cinematic in Digital Media and Virtual Culture." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300365433.
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Kerr, Stella. "Representing the hero: a comparative study between the animated and gameplay cinematic trailers for Overwatch." Thesis, 2017. https://hdl.handle.net/10539/24473.
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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master Arts in Digital Animation, March 2017XL2018
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Rodrigues, Louis Michael Sousa. "Splinter Studio: modelação 3D englobando o património cultural." Master's thesis, 2022. http://hdl.handle.net/10400.13/4175.
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Lucky Hero 's Legacy trata-se de um jogo de aventura, baseado no património cultural
referente a ilha da Madeira. Tem como objetivo lutar contra a falta de interesse que os
adolescentes mostram no que toca ao património cultural. (Após uma visita ao “Museu
Etnográfico da Madeira” onde se constou juntamente com todo os elementos da equipa
pedagógica as inúmeras dificuldades em captar a atenção dos adolescentes e mantê-los
interessados na cultura madeirense.) O jogo foi projetado de forma a oferecer liberdade para os
adolescentes explorarem os cenários 3D da Ilha da Madeira descobrindo assim de forma
dinâmica e envolvente as suas lendas e património cultural e natural.
Este documento descreve todo o processo e técnicas usadas no processo de recriação
dos patrimónios no mundo digital bem como na criação de cinemáticas para a transmissão do
conteúdo educacional.
Para comprovar a eficácia da utilização de videojogo como meio de transmissão de
património cultural foi realizada uma avaliação com 15 adolescentes. Esta avaliação do jogo,
demonstrou ter um potencial enorme na aprendizagem dos jovens em relação ao nosso
património, fazendo assim com que esta aprendizagem seja divertida e motivante para os jovens.
Sendo assim Lucky Hero 's Legacy contribuiu com um novo conceito de aprendizagem para os
adolescentes, como também como método de preservação do próprio património.Lucky Hero 's Legacy is an adventure game, based on the Cultural Heritage referring to the island of Madeira. It aims to combat the lack of interest that adolescents show in the area of cultural heritage. (After a visit to the “Ethnographic Museum of Madeira” where, together with all the elements of the pedagogical team, the numerous difficulties.) The game was designed to provide freedom for teenagers to explore the 3D scenarios of Madeira Island thus dynamically and engagingly discovering its legends and heritage. This document describes the entire process and techniques used in the process of recreating the heritage in the digital world as well as in the creation of kinematics for the transmission of educational content. To prove the effectiveness of the use of video games as a means of transmitting cultural heritage, an evaluation was carried out with 15 adolescents. This assessment has shown enormous potential in learning young people in relation to our heritage, thus making this learning fun and motivating for young people. Thus, Lucky Hero 's Legacy contributed a new concept of learning for adolescents, as well as a method of preserving their own heritage.
Books on the topic "Cinematics video Game"
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Newman, Rich. Cinematic Game Secrets for Creative Directors and Producers. San Diego: Elsevier Science, 2008.
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Cinematic game secrets for creative directors and producers: Inspired techniques from industry legends. Amsterdam: Focal Press, 2008.
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Gibbons, William. Allusions of Grandeur. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0005.
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This chapter explores how video games can seek to raise their artistic profile by using classical music to allude to cinema history. After describing some of the visual elements that can be incorporated in games to create a cinematic feeling for players, the chapter traces the use of classical compilation scores in games, connecting the practice to early cinema history. It then turns to more specific topics: first, video game versions of the Disney film Fantasia, such as the Atari 2600 title Sorcerer’s Apprentice (1983) and the Sega Genesis platformer Fantasia (1991), followed by the incorporation of Philip Glass’s score to the film Koyaanisqatsi in Grand Theft Auto IV.
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Kerins, Mark. Multichannel Gaming and the Aesthetics of Interactive Surround. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.014.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.
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Brine, Kelly Gordon. The Art of Cinematic Storytelling. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054328.001.0001.
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The Art of Cinematic Storytelling: A Visual Guide to Planning Shots, Cuts, and Transitions is a practical introduction to the design of shots, cuts, and transitions for film, video, television, animation, and game design. The author-illustrator is a storyboard artist who has worked with and learned from over 200 professional directors and cinematographers. This book’s clear and concise explanations and vivid examples demystify the visual design choices that are fundamental to directing and editing. Hundreds of illustrations and diagrams support the text. The primary emphasis is on blocking actors and positioning the camera for mood, meaning, and continuity editing. This book delves deeply into controlling the audience’s understanding and perception of time and space; designing in-camera time transitions; compressing and expanding time; composing creative shots for cinematic storytelling; choosing between objective and subjective storytelling; motivating camera moves; choosing lenses; using screen geography and film grammar for clarity; planning shots with continuity editing in mind; knowing how and when to cut; beginning and ending scenes; and using storyboards for planning and communication. Several chapters are devoted to how to block and shoot action involving travel, pursuits, searches, dialogue, groups, and driving. While the approach is based largely on well-established techniques of cinematography and continuity editing, attention is also given to jump cuts, tableau shots, and unconventional framing. The topics are covered thoroughly and systematically, and this book serves both as an introductory text and as a reference work for more advanced students of film.
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Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.
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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.
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Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
Book chapters on the topic "Cinematics video Game"
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Cooper, Jonathan. "Our Project: Cinematics & Facial." In Game Anim Video Game Animation Explained, 159–82. Boca Raton, FL : CRC Press/Taylor & Francis Group, 2019.: A K Peters/CRC Press, 2019. http://dx.doi.org/10.1201/b22299-10.
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Girina, Ivan. "Video Game Mise-En-Scene Remediation of Cinematic Codes in Video Games." In Interactive Storytelling, 45–54. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02756-2_5.
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Stopel, Bartosz. "On Botched Cinematic Transformations of Video Games." In Second Language Learning and Teaching, 173–90. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25189-5_12.
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Suher, Hasan Kemal, and Tuna Tetik. "The World Building in the Superhero Genre Through Movies and Video Games: The Interplay Between Marvel’s Avengers and Marvel Cinematic Universe." In International Series on Computer Entertainment and Media Technology, 155–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81538-7_11.
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Sepinwall, Alyssa Goldstein. "Introduction." In Slave Revolt on Screen, 3–20. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833105.003.0001.
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This chapter introduces the Haitian Revolution, the most important uprising by enslaved people in modern history. It surveys existing films on this event, and asks why there are not more. The chapter introduces the Revolution’s most famous icons, such as Toussaint Louverture, Boukman, Jean-Jacques Dessalines, Henri Christophe, and revolutionary precursor Makandal. It raises questions about inequities in film funding and how they prevent certain storylines about Black History from appearing on screen; it ties this to the problems that former slaveholding countries such as the U.S. and France have had in grappling with the subject of slavery. The chapter also notes the growing importance of historical video games in shaping popular memory about the past and highlights the existence of games about slave revolt in Saint-Domingue (the French colonial name for Haiti). Indeed, the chapter argues, video-game depictions of slave revolt are just as important to study as cinematic ones.
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Rauscher, Andreas. "From Cineludic form to Mise-En-Game: The Ludification of Cinematic Storyworlds in the Star Wars Video Games." In The Franchise Era, 119–38. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.003.0006.
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Andreas Rauscher analyzes the complex convergence of film, video games, and other media within the Star Wars franchise. He argues that stylistic influence within the franchise extends in multiple directions, as while the games bear cinematic elements, the recent film entries remediate ludic concepts. Overall, he notes that the remediation of ludic structures and situations provides a key aesthetic element to Lucasfilm and Disney’s recent Star Wars films.
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Kelly, Brine. "Seven Film Storytelling Essentials." In The Art of Cinematic Storytelling, 12–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054328.003.0002.
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Chapter 1 describes seven ideas that are the foundation of visual storytelling in film, video, animation, television, and game design. The application of these ideas minimizes the confusion about time and space that can easily be created and which distracts viewers from the narrative, reducing their understanding and enjoyment of a filmmaker’s story. This chapter introduces ideas that can be used to direct and hold an audience’s attention. It provides a quick start to students of filmmaking, as well as giving an overview of what is explored in detail in later chapters. The concepts described include juxtaposing images for meaning, telling a story in a series of dramatic beats, positioning the camera effectively for the action and drama, making cuts smooth, deciding when to using motivated and unmotivated camera moves, establishing screen geography, and using transitions.
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Hogan, Patrick Colm. "Metaphor in Cinematic Simulation, or Why Wim Wenders’s Angels Live in a Colorless World." In Embodied Metaphors in Film, Television, and Video Games, 51–66. Routledge, 2015. http://dx.doi.org/10.4324/9781315724522-4.
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Plothe, Theo. "“You Can't Mess with the Program, Ralph”." In Advances in Multimedia and Interactive Technologies, 129–42. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0477-1.ch008.
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This essay posits two crucial elements for the representation of digital games in film: intertextuality and player control. Cinematically, the notion of player-agency control is influenced greatly by this intertextuality, and player control has been represented in a number of films involving video games and digital worlds. This essay looks at the use and representation of player-agency control in films that focus on action within digital games. There are three elements that are essential to this representation: 1) there is a separation between the virtual and the real; 2) the virtual world is written in code, and this code is impossible for player-agents to change, though they can manipulate it; 3) the relative position of the player to the player-agent, is one of subservience or conflict. I argue that the notion of player-agency control is essential to the cinematic representation of video games' virtual worlds.
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Gurevitch, Leon. "Cinema, Video, Game: Astonishing Aesthetics and the Cinematic ‘Future’ of Computer Graphics’ Past." In Cinematicity in Media History, 172–95. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748676118.003.0011.
Full textConference papers on the topic "Cinematics video Game"
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Balson, Franck, Stuart Aitken, Phillip Hillenbrand, Thomas Vu, Matthew Ward, Jakub Jablonski, and Alex Rabb. "The past, present and future of the video game cinematic." In SIGGRAPH '18: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3209621.3219744.
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Zhang, W., M. McLaughlin, and M. Katchabaw. "Story scripting for automating cinematics and cut-scenes in video games." In the 2007 conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1328202.1328229.
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Moorthy, K. L. Bhanu, Moneish Kumar, Ramanathan Subramanian, and Vineet Gandhi. "GAZED Gaze-guided Cinematic Editing of Wide-Angle Monocular Video Recordings." In CHI '20: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3313831.3376544.
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