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Books on the topic 'Performance animation'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Animation and performance capture using digitized models. Springer, 2010.

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2

de Aguiar, Edilson. Animation and Performance Capture Using Digitized Models. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-10316-2.

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3

High-performance graphics in C: Animation and simulation. Windcrest, 1988.

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4

Acting for animators: A complete guide to performance animation. Heinemann, 2000.

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5

Acting for animators: A complete guide to performance animation. Heinemann, 2003.

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6

Shadow of a mouse: Performance, belief and world-making in animation. University of California Press, 2012.

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7

Schoeffler, James D. Performance analysis of an actor-based distributed simulation. National Aeronautics and Space Administration, Langley Research Center, 1998.

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8

Motion capture in performance: An introduction. Palgrave Macmillan, 2015.

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9

Stop-motion filming and performance: A guide to cameras, lighting, and dramatic techniques. McFarland, 2006.

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10

Art matters. Sansar Media, 2008.

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11

Peter, Hall. Pause: 59 minutes of motion graphics : broadcast design, music video, animation, and experimental graphics from around the world. Universe, 2000.

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12

Graham, Dan. Dan Graham: 20 février-19 avril 1987, ARC (Animation, recherche, confrontation), Musée d'art moderne de la ville de aris. Musée d'art moderne de la ville de Paris, 1987.

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13

High-performance interactive graphics: Modeling, rendering, and animating for IBM PCs and compatibles. Tab Books, 1987.

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14

Hayes, Derek. Acting and Performance for Animation. Taylor & Francis Group, 2013.

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15

Hayes, Derek. Acting and Performance for Animation. Taylor & Francis Group, 2013.

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16

Hayes, Derek. Acting and Performance for Animation. Routledge, 2013. http://dx.doi.org/10.4324/9780080962177.

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17

Acting And Performance For Animation. Focal Press, 2012.

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18

Hayes, Derek. Acting and Performance for Animation. Taylor & Francis Group, 2013.

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19

Hayes, Derek. Acting and Performance for Animation. Taylor & Francis Group, 2017.

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20

Hayes, Derek. Acting and Performance for Animation. Taylor & Francis Group, 2013.

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21

Savoye, Yann. Cage-based Performance Capture. Springer, 2013.

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22

Savoye, Yann. Cage-based Performance Capture. Springer, 2016.

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23

Savoye, Yann. Cage-Based Performance Capture. Springer London, Limited, 2013.

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24

Springer and Edilson de Aguiar. Animation and Performance Capture Using Digitized Models. Springer Berlin / Heidelberg, 2012.

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25

Aguiar, Edilson de. Animation and Performance Capture Using Digitized Models. Springer London, Limited, 2009.

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26

Stop Motion: Passion, Process and Performance. Focal Press, 2007.

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27

Purves, Barry J. C. Stop Motion: Passion, Process and Performance. CRC Press LLC, 2012.

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28

Purves, Barry J. C. Stop Motion: Passion, Process and Performance. CRC Press LLC, 2012.

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29

Purves, Barry J. C. Stop Motion: Passion, Process and Performance. CRC Press LLC, 2012.

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30

Purves, Barry J. C. Stop Motion: Passion, Process and Performance. CRC Press LLC, 2012.

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31

Organ, Philip. Performance Capture: Capturing Motion for Games and Animation. Bloomsbury Academic & Professional, 2023.

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32

Hooks, Ed. Acting for Animators: A Complete Guide to Performance Animation. Heinemann Drama, 2003.

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33

Oore, Sageev. DIGITAL MARIONETTE: Augmenting kinematics with physics for multi-track desktop performance animation. 2002.

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34

Perrott, Lisa. ZigZag. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.038.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s w

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35

Center, Langley Research, and United States. National Aeronautics and Space Administration., eds. Performance analysis of an actor-based distributed simulation. National Aeronautics and Space Administration, Langley Research Center, 1998.

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36

Center, Langley Research, and United States. National Aeronautics and Space Administration., eds. Performance analysis of an actor-based distributed simulation. National Aeronautics and Space Administration, Langley Research Center, 1998.

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37

Pierson, Ryan. Figure and Force in Animation Aesthetics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949754.001.0001.

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How can movements in animated films be described? Figure and Force in Animation Aesthetics introduces a powerful new method for the study of animation. By looking for figures—arrangements that seem to intuitively hold together—and forces—underlying units of attraction, repulsion, and direction—it reveals startling new possibilities for animation criticism, history, and theory. Drawing on concepts from Gestalt psychology, the book offers a wide-ranging comparative study of four animation techniques—soft-edged forms, walk cycles, camera movement, and rotoscoping—as they appear in commercial, art

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38

Ltd, ICON Group. ENGINEERING ANIMATION, INC.: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series). 2nd ed. Icon Group International, 2000.

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39

Davé, Shilpa S. Apu’s Brown Voice. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037405.003.0003.

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This chapter discusses the character Apu, exploring how his appearance on the television show The Simpsons in the 1990s was a departure from previous Hollywood and television representations of South Asians in the United States. Whereas South Asians were previously depicted as brief visitors or exotic foreigners, Apu symbolizes a permanent Indian immigrant presence in the United States. Yet, his brown-voice performance racializes and differentiates him from other Americans. The chapter theorizes the use of brown voice and discusses how animated characters, in particular, become a significant s

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40

Ltd, ICON Group. DIGITAL ANIMATIONS GROUP PLC: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series). 2nd ed. Icon Group International, 2000.

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41

Hall, Peter, Julie Hirschfeld, Stefanie Barth, and Andrea Codrington. Pause :59 Minutes of Motion Graphics. Universe Publishing, 2000.

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42

Kaduri, Yael, ed. The Oxford Handbook of Sound and Image in Western Art. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.001.0001.

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This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which consti

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43

Larson, Katherine R. The Matter of Song in Early Modern England. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843788.001.0001.

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Given the variety and richness of the sixteenth- and seventeenth-century English “songscape,” it might seem unsurprising to suggest that early modern song needs to be considered as sung. When a reader encounters a song in a sonnet sequence, a romance, and even a masque or a play, however, the tendency is to engage with it as poem rather than as musical performance. The Matter of Song in Early Modern England: Texts in and of the Air opens up the notion of song from a performance-based perspective and considers the implications of reading early modern song not simply as lyric text but as embodie

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44

Santiago Iglesias, José Andrés, and Ana Soler Baena, eds. Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbp.

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Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Taking Neon Genesis Evangelion (Shin Seiki Evangerion) as a case study, this volume acknowledges anime as a media form with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses. First broadcast in Japan in 1995-96, Neon Genesis Evangelion became an epoch-making anime, and later franchise. The ini

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45

Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic an

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