Relevant bibliographies by topics / Experimental art practice in animated film

Contents

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

Academic literature on the topic 'Experimental art practice in animated film'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Experimental art practice in animated film"

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Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.

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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, fes
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Noll, A. Michael. "Early Digital Computer Art at Bell Telephone Laboratories, Incorporated." Leonardo 49, no. 1 (2016): 55–65. http://dx.doi.org/10.1162/leon_a_00830.

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This article is a history of the digital computer art and animation developed and created at Bell Telephone Laboratories, Incorporated, 1962–1968. Still and animated images in two dimensions and in stereographic pairs were created and used in investigations of aesthetic preferences, in film titles, in choreography, and in experimental artistic movies. Interactive digital computer music software was extended to the visual domain, including a real-time interactive system. Some of the artworks generated were exhibited publicly in various art venues. This article emphasizes work in digital program
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Najafi, Hossein. "Displacement of self-continuity: An heuristic inquiry into identity transition in a 3D motion-capture-based animated narrative short film." Animation Practice, Process & Production 8, no. 1 (2019): 165–88. http://dx.doi.org/10.1386/ap3_00010_1.

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This practice-led artistic research considers how a fictional allegory might be employed to examine issues of acculturation, displacement and identity transition. Using the story of a refugee family, the study explores through artistic practice the implications of identity reconstruction inside the body of a new culture. The animated short film Stella is designed to serve as a provocative vehicle for considering the social implications of identity loss and transition. Methodologically, the project is shaped by an heuristic inquiry. Inside this journey, the researcher generates a narrative that
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Bennett, Jill, Lynn Froggett, and Lizzie Muller. "Psychosocial aesthetics and the art of lived experience." Journal of Psychosocial Studies 12, no. 1 (2019): 185–201. http://dx.doi.org/10.1332/147867319x15608718111023.

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This article identifies the distinctive nature of arts-based psychosocial enquiry and practice in a public mental health context, focusing on two projects delivered as part of The Big Anxiety festival, in Sydney, Australia in 2017: ‘Awkward Conversations’, in which one-to-one conversations about anxiety and mental health were offered in experimental aesthetic formats; and ‘Parragirls Past, Present’, a reparative project, culminating in an immersive film production that explored the enduring effects of institutional abuse and trauma and the ways in which traumatic experiences can be refigured t
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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.

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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history
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Howard, Frances. "“It’s Like Being Back in GCSE Art”—Engaging with Music, Film-Making and Boardgames. Creative Pedagogies within Youth Work Education." Education Sciences 11, no. 8 (2021): 374. http://dx.doi.org/10.3390/educsci11080374.

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Creative pedagogies within youth work practice are well established. Practitioners working with young people are often called upon to utilise their own personal and professional ‘toolboxes’, as a way of supporting ‘Creative Arts Youth Work’. However, within Higher Education (HE), creative methods for teaching and learning within the university context are often overlooked. The problem posed by this article is: how can HE ‘catch-up’ with more advanced pedagogies in the field of practice? Despite a recent focus on the personalisation of learning within HE, how can arts-based pedagogies, includin
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Maron, Marcin. "Filmowa neoawangarda i początki sztuki video." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (2018): 37. http://dx.doi.org/10.17951/l.2017.15.2.37.

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<p>Artykuł w syntetyczny sposób omawia najważniejsze zjawiska filmu eksperymentalnego w kontekście pojęcia i praktyki sztuki neoawangardowej od II połowy lat 60. do połowy lat 70. XX wieku. Na początku przypomniana została pierwsza i druga faza rozwoju filmu eksperymentalnego w związku z istnieniem tzw. Wielkiej Awangardy oraz z działalnością jej kontynuatorów po Ii wojnie światowej w USA. Nastepnie zdefiniowane zostało pojęcie neoawangardy w odniesieniu do ujęcia, które zparoponował Frank Popper. W dalszej części artykułu jego autor omawia zasady oraz najważniejsze przykłady filmów neoa
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Zamojski, Jan. "Philosophical and aesthetic aspects of the face in the context of teaching selected humanities subjects at the Poznan University of Medical Sciences." Journal of Face Aesthetics 1, no. 1 (2018): 37–50. http://dx.doi.org/10.20883/jofa.4.

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The paper starts off from the prehistoric role of the face and the dominant significance of the question of the face in the humanities. Author will address the above questions in the context of his own teaching of such subjects as Philosophy, History of Philosophy, Aesthetics, and Philosophy of Medicine. He draws attention to the role of works of art he uses in the teaching process, e.g. the tale Beautiful Face from the book 13 Tales from the Kingdom of Lailonia by the eminent philosopher Leszek Kołakowski. As the person instrumental for the film adaptation of this book and the script writer,
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Smith, Paul Julian. "Behind the money: Alejandro González Iñárritu as career director." Studies in Spanish & Latin American Cinemas 18, no. 1 (2021): 9–18. http://dx.doi.org/10.1386/slac_00033_1.

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This article is presented in two halves. The first analyses little known interviews with Iñárritu before he made his career in feature films that document his practice in radio, advertising and television drama. These interviews focus on his early conception of the relation between art and commerce and his views on the Mexican media scene in the 1990s. The second half of the article analyses the rare primary materials themselves: radio commercials, television idents and, at much greater length, his first feature-length fiction film, an experimental drama made for Televisa in 1995 called Detrás
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Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.

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This paper explores a recently emerged audiovisual form called desktop documentary, an interdisciplinary computer-based variant of the essay film. As a post-media practice, no longer exclusively dependent on the film medium, desktop filmmaking represents a hybrid audiovisual genre entirely conducted in the digital environment by using and exploiting preexisting materials in new contexts while using the advantages of the Internet, widely used software and digital tools. Desktop documentary filmmaking corresponds to the widespread artistic practice of postproduction – a concept introduced by Nic
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Dissertations / Theses on the topic "Experimental art practice in animated film"

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Claesson, Nils. "Spökmaskinen : Sju förändringar och förflyttningar – gestaltningsprocesser i animerad film." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-270.

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The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays
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Ashrowan, Richard. "Alchemical catoptrics : light, matter and methodologies of transformation in moving image practice." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/31017.

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The transformation of matter and the reflection of light are at the heart of filmmaking and moving image practice, exemplified by Stan Brakhage’s assertion that “matter is still light. Light held in a bind.” Catoptrics is the use of optical devices, mirrors, crystals and lenses in the processes of focussing and directing light. Alchemy has a two thousand year history, commonly misunderstood as a form erroneous proto-chemistry in which people sought the Philosopher’s Stone to transmute base metals into gold. Alchemical catoptrics is the place where the disciplines of alchemy and catoptrics meet
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Suret-Canale, Alice. "D’un fragment à l’autre : images empreintes de temps réel : exploration des nouvelles découpes de la vue et du temps dans le film d’animation et l’image numérique animée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080018/document.

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La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développ
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Kazemimanesh, Sara. "Underground Labyrinths: Woman and Expanded Cinema in Contemporary Iran." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1566556001982398.

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Grobler, Diek 1964. "Narrative strategies in the creation of animated poetry-films." Thesis, 2021. http://hdl.handle.net/10500/27666.

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Text in English, with abstracts and keywords in English and Sesotho<br>This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strat
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Books on the topic "Experimental art practice in animated film"

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John, Sundholm, and Söderbergh-Widding Astrid, eds. A history of Swedish experimental film culture: From early animation to video art. National Library of Sweden, 2010.

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Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different exam
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Murray, Jonathan, and Nea Ehrlich, eds. Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.001.0001.

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Documentary cinema has always drawn from real life. However, an increasing number of contemporary filmmakers go further still, drawing onscreen images of reality through a range of animated filmmaking techniques and aesthetics. This book is the first of its kind, exploring the field of animated documentary film from a diverse range of scholarly and practice-based perspectives. The book’s chapters explore and propose answers to a range of questions that preoccupy twenty-first-century film artists and audiences alike: What are the historical roots of animated documentary? What kinds of reasons i
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Jacobs, Steven, Susan Felleman, Vito Adriaensens, and Lisa Colpaert. Screening Statues. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.001.0001.

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Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic scul
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Book chapters on the topic "Experimental art practice in animated film"

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Shembel, Daria. "DJ Spooky and Dziga Vertov: Experimental Cinema Meets Digital Art in Exploring the Polar Regions." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0027.

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This chapter by Daria Shembel examines the montage-based filmmaking practice of Soviet director Dziga Vertov, his theory of the Kino-eye, and how Vertov’s principles have been remediated through Paul D. Miller, aka DJ Spooky. Shembel puts this practice in productive tension with the recent work of DJ Spooky, and how Vertov’s proto-digitality techniques greatly inspired contemporary multimedia artist Spooky in his Antarctic and Arctic projects. Paying particular attention to Vertov’s film A Sixth Part of the World (1926), Shembel delineates the parallels between Vertov’s practices and that of DJ Spooky’s multi media project Kino-Glaz/Kino Eye (2009) his Antarctica project The Book of Ice (2001). Shembel argues that Vertov’s practice foreshadows digital platforms and traces the ways in which digital media can be seen as the logical outcome of Vertov’s work.
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Ker, Yin. "Shadows of the Sun." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0015.

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An inscription on a Chinese statue of Amitabha dated 746 AD reads, “As a matter of general principle, the highest truth is devoid of any image. But if there were no image, there would be no possibility for truth to manifest itself. The highest principle is without words. But if there were no words, how could the principle be known?” From the point of view of an art historian and through the example of a short animated film proposal, this essay investigates the ways in which strategies specific to animation, such as narrativity, metaphorical potency, metamorphosis, and most importantly, the capacity to penetrate intangible dimensions, mitigate these challenges. The author argues that animation offers a more efficacious medium than static images and theory in evincing Buddhist dharma; namely, that in the process of depicting Buddhist thought and practice, both the activity and product of animation become sites of merit-making and means of spiritual transformation in themselves.
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Walley, Jonathan. "Cinema as Idea." In Cinema Expanded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938635.003.0007.

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Chapter 6 considers works of expanded cinema that could be called “conceptual cinema.” “Conceptual,” here, refers to the belief that cinema among many avant-garde/experimental filmmakers and critics that cinema was ultimately a conceptual phenomenon, even when it took forms that seemed decidedly material. The term, or variants of it, was used in the 1960s and 1970s, often to refer to “imaginary” films, films planned or written but purposely never executed, and unprojected or unprojectable films. There are parallels between such conceptual cinematic works and conceptual art. In both cases, concepts, intentions, imagination, and discourse are taken to be as constitutive as art works as materials and physical processes. The objects of the film medium were, and continue to be, de-centered in favor of these less tangible, conceptual, or discursive dimensions of cinematic practice. While conceptual art will be a point of reference, chapter 6 will also show that a concept-based ontology of cinema emerged organically from within the history of avant-garde/experimental film. That is, it should not be thought of simply as a delayed response by filmmakers to prior art world developments, as if playing catch-up with their fellow artists.
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Walley, Jonathan. "Expanded Cinema Revis(it)ed." In Cinema Expanded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938635.003.0003.

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Chapter 2 addresses a third wave of expanded cinema, running from the mid-1990s to the present. Though in dialogue with art world developments, particularly the prevalence of moving images in that world, this wave again rose out of the theory and practice of avant-garde cinema. Hence, it reflects that film culture’s skepticism about digital technology, media convergence, and the “death” of cinema. Chapter 2 considers two major factors in the resurgence of expanded cinema. The first is the spread of digital technology and the implications of this for filmmaking and the theorization of cinema’s ontology. In the wake of “new media’s” ascendency in the “digital age,” experimental filmmakers and critics took up a renewed investigation of the nature of cinema and the role that specific physical media (e.g., celluloid film) play in our conception it. Prominent theorists of new media have argued against such specificity positions, employing concepts like “remediation” and “media convergence,” which speak to a merging of media and art forms quite contrary to the broadly modernist notions of avant-garde filmmakers—including those who produced expanded cinema during its “second wave.” The second major factor for expanded cinema’s new life is the microcinema, a form of film exhibition specific to experimental cinema that appeared across the United States, Canada, and Europe beginning the mid-1990s. Microcinemas are characterized by a highly participatory social environment, wherein film screenings blend into other kinds of social activity. Microcinemas are thus models for expanded cinema, each showcasing cinema’s adaptability to varying spaces and formal heterogeneity.
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Elhaik, Tarek. "The Incurable-Image." In The Incurable-Image. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403351.003.0003.

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This chapter introduces concept of the ‘incurable-image’: a species of images that throws us into clinical, ethical and pedagogical struggle. A limit to both ethnographic and curatorial practice, this struggle is symptomatically devalued, concealed, and discouraged by what can be called our ‘states of curation’. The chapter considers three lessons that can be learned from the work of the incurable-image and shows how concept-work and conceptual art gradually emerge as anthropology's incurable-images. It also examines the opening sequence from Rubén Gámez's experimental ethnographic film La Fórmula Secreta: Coca Cola en Las Venas (1965), which provides us with an incurable-image and an intriguing point of intrusion into the diseased body politic of the post-Mexican condition, as well as the autopsies and modalities of intrusion celebrated by the curatorial platforms it has affinities with.
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"he was determined to ensure that he and his work would be available to both East and West, and thus his commitment to Communism was made on his own terms. Brecht also drew criticism from some of his supporters for appearing to condone Stalin’s barbaric form of Communism in Russia, and again for failing to criticise the East German government’s use of Russian tanks to restore order after the Berlin uprising of June 1953. As Peter Thomson says in his account of Brecht’s life: There is much about him, what he did and what he failed to do, that makes him vulnerable. He was a man who lived untidily, but who combined timorousness and combativeness as few people have. (Thomson and Sachs, 1994, p.38) Crucially, the corollary of Brecht’s Marxism was his creation of play-texts that were based on a social, economic and historical understanding of the development of human life and behaviour and its institutions, and which expressed Brecht’s passionate concern for the poor, the disempowered and the disenfranchised in society. His aim was not just to reflect the real world in his drama but to contribute to its change and improvement. While his deeply felt pacifism was readily acceptable to many at the time of and immediately after the war of 1939– 45, his anti-capitalist stance was more of a problem in the capitalist West. The ideals and heartfelt beliefs expressed in his plays were put into theatrical practice by Brecht operating through a working method and process that was open, experimental and collaborative, and which placed emphasis on the ensemble rather than on the individual performer. And this method and process were (and are) as much a stumbling block to his full acceptance in Britain’s theatre environment as was and is his Marxism per se. To compound the problem, much of his creative work appeared to arrive here already wrapped in the brown paper of Brechtian dramatic theory. There has always been an unwilling-ness in Britain to contemplate or work via a theoretical basis for art. British theatre, it might be argued, has never paid open respect to the intellectual approach; instead, it has thrived on traditional approaches and instinct, not on revolution and theoretical debate. Those ap-proaches include an eclectic manner in the creating of the professional actor (‘training’ is not a prerequisite for membership of the profession), though the predominance of a ‘naturalistic’ performance style in mainstream theatre (supported by television and film) results in the fact that a ‘psychological’ approach to character has been (and is) the dominant approach to a part for most actors. However, the paucity of rehearsal time in the British professional theatre, and the frequent concern on the part of directors to create ‘scenes’ rather than motivation, has encouraged the actors’ reliance on their own instinctual understanding of what a part requires rather than on the development of a systematic process based on training. This, plus a basic." In Performing Brecht. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-9.

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Conference papers on the topic "Experimental art practice in animated film"

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Buck, Frederick A., D. Keith Walters, Jeffrey D. Ferguson, E. Lee McGrath, and James H. Leylek. "Film Cooling on a Modern HP Turbine Blade: Part I — Experimental and Computational Methodology and Validation." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30470.

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State-of-the-art experimental and computational techniques are used to study film cooling on the suction and pressure surfaces of a modern turbine blade under realistic engine conditions. Measured data and predicted results are compared for coolant jets injected through a row of three fundamentally different configurations: (1) Compound-angle round (CAR) holes; (2) Axial shaped holes (ASH); and (3) Compound-angle shaped holes (CASH). Experiments employ a single-passage cascade for validation-quality adiabatic film effectiveness measurements using a gas analysis technique. Computations use a no
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Liu, Jong-Shang, Mark C. Morris, Malak F. Malak, Randall M. Mathison, and Michael G. Dunn. "Comparison of 3D Unsteady Transient Conjugate Heat Transfer Analysis on a High Pressure Cooled Turbine Stage With Experimental Data." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-64596.

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In order to have higher power to weight ratio and higher efficiency gas turbine engines, turbine inlet temperatures continue to rise. State-of-the-art turbine inlet temperatures now exceed the turbine rotor material capability. Accordingly, one of the best methods to protect turbine airfoil surfaces is to use film cooling on the airfoil external surfaces. In general, sizable amounts of expensive cooling flow delivered from the core compressor are used to cool the high temperature surfaces. That sizable cooling flow, on the order of 20% of the compressor core flow, adversely impacts the overall
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Occhioni, Giorgio, Shahrokh Shahpar, and Haidong Li. "Multi-Fidelity Modelling of a Fully-Featured HP Turbine Stage." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-64478.

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An improvement in overall efficiency and power output for gas turbine engines can be obtained by increasing the combustor exit temperature, but the thermal management of metal parts exposed to hot gases is challenging. Discrete film cooling, combined with internal convective cooling is the current state-of-the-art available to aerothermal designers of these components. To simplify the simulation problem in the aerodynamic design phase, it is common practice to replace the cooling holes with source strips applied to the blade. This could lead to inaccuracies in high pressure turbine performance
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Aillaud, Pierre, Florent Duchaine, Laurent Gicquel, and Charlie Koupper. "On the Use of Periodic Boundary Condition for Large Eddy Simulation of Trailing Edge Cutback Film Cooling With Internal Ribs." In ASME Turbo Expo 2018: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/gt2018-75801.

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One of the state-of-the-art system for turbine blade trailing edge cooling consists in blowing air, coming from the internal cooling system of the blade, through slots over a cutback on the pressure side. To increase the stiffness, this cutback is commonly equipped with internal ribs. The classical RANS method is widely used in industry to design such a system. However, it has been shown that the accuracy of such a stationary formalism is limited for the prediction of the adiabatic effectiveness due to the fact that the flow is driven by large-scale unsteadiness. In this context, Large Eddy Si
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