Relevant bibliographies by topics / Shadow puppetry

Contents

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

Academic literature on the topic 'Shadow puppetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 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 'Shadow puppetry.'

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 "Shadow puppetry"

1

Diamond, Catherine. "Wayang Listrik: Dalang Larry Reed's Shadow Bridge Between Bali and San Francisco." Theatre Research International 26, no. 3 (October 2001): 257–76. http://dx.doi.org/10.1017/s0307883301000347.

Full text
Abstract:
Building on the early European experiments with animated shadow figures, American dalang Larry Reed – narrator and puppet manipulator – has enlarged Balinese shadow puppetry to cinema-sized dimensions and combined it with live actors and dancers. In conjunction with Balinese puppet masters, Reed has created several pieces which explore the interaction between puppets and human shadow figures as well as performers in front of the screen. Moreover, Reed's productions are bilingual and bi-cultural, mixing Balinese and American humour and mythology so that the hybrid creations find favour with audiences in both locations. As his technique increasingly becomes refined in the process, each new production expands more subtly on the theme of melding shadow with flesh and the blurring of illusion and reality.
APA, Harvard, Vancouver, ISO, and other styles
2

Amato, I. "Atomic Shadow-Puppetry Reveals Structure." Science News 137, no. 3 (January 20, 1990): 39. http://dx.doi.org/10.2307/3974395.

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

Brown, Susannah. "Building Character through Shadow Puppetry." Art Education 57, no. 6 (November 1, 2004): 47. http://dx.doi.org/10.2307/27696044.

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

Brown, Susannah. "Building Character through Shadow Puppetry." Art Education 57, no. 6 (November 2004): 47–53. http://dx.doi.org/10.1080/00043125.2004.11653576.

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

Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

Full text
Abstract:
The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
APA, Harvard, Vancouver, ISO, and other styles
6

Kuo-Huang, Han. "Chinese Shadows: The Amazing World of Shadow Puppetry in Rural Northwest China." Ethnomusicology Forum 18, no. 1 (June 2009): 173–74. http://dx.doi.org/10.1080/17411910902790457.

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

Nicholas, Ng. "Chinese Shadows: The Amazing World of Shadow Puppetry in Rural Northwest China." Asia Pacific Journal of Anthropology 12, no. 5 (November 2011): 503–6. http://dx.doi.org/10.1080/14442213.2011.624072.

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

Wibowo, Arining, Joko Kurnain, and Juanda Juanda. "History of Inheritance of Wayang Topeng Malangan (Malang Traditional Mask Puppet) in Pakisaji and Tumpang." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 73–83. http://dx.doi.org/10.15294/harmonia.v20i1.24785.

Full text
Abstract:
This study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-district and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned this art since the age of four. Padepokan Mangun Dharma is the home of mask puppet art, as well as music, traditional dance, and theatre, macapat, puppetry, and shadow puppets. The history of the inheritance of this hermitage began with the great-grandfather of the puppeteer Soleh namely Kek Sainten (Grandpa Sainten). The current heir of Padepokan Mangun Dharma is the son of the puppeteer Soleh, Supriyono Hadi Prasetyo, who also learned puppetry both autodidact and formally through college. Although inheritance occurs vertically, which is hereditary in each hermitage, horizontal inheritance also occurs between the two. This indicates that the inheritance process of Padepokan Asmoro Bangun and Mangun Dharma are related to each other.
APA, Harvard, Vancouver, ISO, and other styles
9

Mansur, Rosichin. "AKULTURASI NILAI-NILAI PENDIDIKAN ISLAM MULTIKULTURAL DALAM BUDAYA WAYANG TOPENG MALANGAN." PENDIDIKAN MULTIKULTURAL 3, no. 2 (August 19, 2019): 122. http://dx.doi.org/10.33474/multikultural.v3i2.4753.

Full text
Abstract:
Dalang memiliki peran sentral sebagai penguasa, sutradara dan penutur cerita dalam pagelaran wayang topeng malangan. Dalang sebagai pelestari akulturasi nilai, nilai-nilai pendidikan Islam multikultural dalam budaya yang diekspresikan pada pementasan wayang topeng malangan. Akulturasi nilai-nilai pendidikan Islam multikultural dalam ritual wayang topeng malangan berupa nilai religi (nilai kedamaian, humanis) dan budaya (nilai pribadi, kekeluargaan). Model akulturasi nilai dalam tuturan bahasa dalang secara dekulturasi, bangunan model akulturasi dibangun dengan cara rekonstruksi, model akulturasi nilai dalam ritual secara sinkretisme, bangunan model akulturasi dibangun dengan cara rekonstruksi.Kata kunci: akulturasi nilai, pendidikan Islam multikultural, wayang topeng malangan. The mastermind has a central role as the ruler, director and storyteller in the shadow puppet show performance. The mastermind as the preserver of acculturation in values, the values of multicultural Islamic education in culture are expressed in the performance of wayang topeng malangan. There is an acculturation in the values of multicultural Islamic education in wayang topeng malangan rituals in the form of religious values (peace, humanism) and culture (personal values, family values). Acculturation model values in puppeter language speech in deculturation, building acculturation model was built by means of reconstruction, acculturation value models in rituals in syncretism, building acculturation models built by reconstruction.Keywords: acculturation of values, multicultural Islamic education, shadow puppetry of malangan.
APA, Harvard, Vancouver, ISO, and other styles
10

Parikesit, Gea Oswah Fatah. "3D Wayang Kulit: traditional shadow puppetry meets modern display technology." International Journal of Arts and Technology 9, no. 2 (2016): 162. http://dx.doi.org/10.1504/ijart.2016.077238.

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

Dissertations / Theses on the topic "Shadow puppetry"

1

Xie, Jiajing. "An Architectural Rendition of Shadow Puppetry: a Translation from Shadow Puppetry to Architecture Through Movement." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491308486236146.

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

Singh, Salil Kishore. ""Emerging from shadows" : the puppeteer's art in Tolpava Koothu, shadow puppetry of southern India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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

Goodlander, Jennifer L. "Body of Tradition: Becoming a Woman Dalang in Bali." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276100866.

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

Kent, Lynne. "Breaking the Fifth Wall: Enquiry into Contemporary Shadow Theatre." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16147/.

Full text
Abstract:
Practising Shadow Theatre in the West today means to subvert the predominantly negative view of shadow in the Western psyche, to transcend the faintly racist notion of shadow theatre as the quaint practice of traditional people of the East and to contend with the dominant influences of the electronic media on this once powerful and popular art form. This research is through creative practice in the form of the production, Cactus. This performance investigates the use of the screen in contemporary Shadow Theatre and the optimisation of the live theatrical experience. The performance also seeks to integrate mediatized and non-mediatized performance through the combination of live performance and projected images. My research is a social constructivist process to creative practice as research using a pluralistic approach including elements of action research and autobiography. The literature included for review in this study includes work by Brook, Grotowski, Auslander, Sontag, and Schechner. The literature analysis and previous training with Italian company, Teatro Gioco Vita, served to inform the application of my theories as praxis. The central question of this research project is: How can I break the fifth wall (which is the screen) in shadow theatre performance? Subsidiary questions are: How can we harness the advantages of both mediatized and non-mediatized performance to produce a contemporary shadow theatre form catering to the needs of a twenty-first century audience? How can I optimize the live theatrical experience? What is contemporary Shadow Theatre?
APA, Harvard, Vancouver, ISO, and other styles
5

Proßowsky, Bjela. "“How to Talk to Dragons” Insights into the Praxis of an Inter-Cultural Shadow Puppet Theatre Play." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22271.

Full text
Abstract:
Cultural diversity in a global community demands our tolerant understanding of one another. Participatory art projects can be instrumental in facilitating equal-footing en­counters and creative communication between people from different cultures that transcend language barriers. Used as a methodology for synergistic exchange and exploration, they represent a useful tool for the study and advancement of alternative solutions to development-related themes, particularly where non-verbal communication is either essential or advantageous.This report considers an independent arts-based project, “How to Talk to Dragons”, which was carried out in Phnom Penh, Cambodia by cultural workers from Berlin. The inter-cultural project chose the art form of shadow puppetry to explore the country’s culture and the experiences of its people, and to exchange ideas and perspectives in an engaging and socially just forum. The question guiding this cultural voyage of discovery was how the symbolic dragon, a mythical creature with a global resonance but subject to different perceptions in Europe and Asia, might be used as an agent for opening the way to revealing insights into human nature.The report also explores the links between How to Talk to Dragons and ComDev practices and, by incorporating an auto-ethnographic approach, considers how this method can serve to provide a better understanding of practice and add value to project analysis from a practitioner's perspective.It finds that open concept projects offer an exceptional flexibility to adapt to local and cultural conditions and makes the case for the Cambodian shadow theatre known as Sbek Touch (literal meaning: small leather) as a valuable emancipatory tool for promoting communication across social, economic and cultural borders. It recommends further studies into its potential for raising and identifying sometimes controversial issues in a humorous manner and for uncovering collective solutions, particularly among marginalized communities and classes. Ultimately, the report points to Hooks’ “Practice of Love” as an overarching concept that can inform and transform activities designed to engage with and embrace diversity.
APA, Harvard, Vancouver, ISO, and other styles
6

Gamble, Chuck. "Shadow puppets /." Online version of thesis, 1992. http://hdl.handle.net/1850/11077.

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

Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.

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

Crosby, Leah. "Never Again, Every Year." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429711176.

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

Grant, Ian John. "Shadows, touch and digital puppeteering : a media archaeological approach." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/80919/.

Full text
Abstract:
Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the 'remediation' of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry-shadows, shadowgraphs and silhouettes-to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems-using spring networks-with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries-serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input-other than touch-can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms.
APA, Harvard, Vancouver, ISO, and other styles
10

Lyra, Yarasarrath Alvim Pires do Carmo. "Protocolo lunar: processos criativos para a cena do teatro de animação na perspectiva de quem constrói e anima." Escola de Teatro, 2014. http://repositorio.ufba.br/ri/handle/ri/27199.

Full text
Abstract:
Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T18:32:10Z No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5)
Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-03T17:17:17Z (GMT) No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5)
Made available in DSpace on 2018-09-03T17:17:18Z (GMT). No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5)
Esta pesquisa se refere a um estudo prático-teórico, na linha de Poéticas e Processos de Encenação em Artes Cênicas e foi conduzida pelo desejo da pesquisadora de ampliar os conhecimentos de sua formação como artista e professora de teatro. Trata-se da produção de um contexto poético-reflexivo, no qual se cruzam três grandes campos: Processos Criativos, Imaginário e Teatro de Animação. Teve como objeto disparador a prática da atriz que construiu e animou seu próprio personagem-boneco no espetáculo Protocolo Lunar. Neste considerou-se as interfaces do Teatro de Animação como encenação contemporânea com estratégias metodológicas colaborativas. No referido contexto, foram compreendidos, interpretados e tornados visíveis Princípios e Procedimentos criativos de concepção, construção e atuação do personagem-boneco para cena a partir do ponto de vista de quem constrói e anima. Trata-se de metodologia adequada a processos de criação artística, que opera com a Abordagem Compreensiva apresentada por Sonia Rangel, a qual, entre outros autores, se apoia na Teoria da Formatividade de Luigi Pareyson. Igualmente, foram considerados os pensamentos de outros autores para fundamentar a pesquisa, tais como Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecília Almeida Salles, Ítalo Calvino, Klauss Vianna, Marco Souza. A pesquisa de campo foi desenvolvida a partir de Laboratórios Criativos com o Grupo Os Imaginários, além de incluir o diálogo com três outros artistas, Gil Teixeira, de Salvador, Bahia; Anibal Pacha, de Belém do Pará e Marcelo Lafontana, de Vila do Conde, Portugal, por meio de entrevistas. Eles foram selecionados pelo critério de também partilharem prática cênica semelhante. A perspectiva, além de registrar a memória de processos criativos em Teatro de Animação, é poder articular com outras pesquisas realizadas, colaborar com a discussão, o aprofundamento, os desdobramentos e a ampliação das reflexões que já existem neste campo.
This research refers to a practical-theoretical study, in the Poetics and Processes Staging Performing Arts in line and was driven by the desire of the researcher to broaden the knowledge of his training as an artist and teacher of theater. It is the production of a poetic-reflexive context in which intersect three major fields: Creative Processes, Imaginary and Animation Theater. Object was to trigger the practice of the actress who has built his own character and animated puppet-show in Lunar Protocol. This was considered the interfaces of the Animation Theater as contemporary staging with collaborative methodological strategies. In that context, were understood, interpreted and made visible Principles and Procedures of creative design, construction and performance character-puppet to the scene from the point of view of who builds and animates. It is suitable for artistic creation processes, which operates the Comprehensive Approach by Sonia Rangel, which, among others, rests on the theory formativeness Luigi Pareyson methodology. Also, we considered the thoughts of other authors to support research, such as Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecilia Almeida Salles, Italo Calvino, Klauss Vianna, Marco Souza. The field research was developed from Creative Labs with Imaginary Group and includes dialogue with three other artists, Gil Teixeira, Salvador, Bahia; Anibal Pacha, of Belém do Pará and Marcelo Lafontana, Vila do Conde, Portugal, through interviews. They were selected by the criterion also share similar stagecraft. The prospect, and to record the memory of creative processes in Animation Theater is able to articulate with other surveys conducted, supporting the discussion, deepening, the unfolding and expansion of reflections that already exist in this field.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Shadow puppetry"

1

Wisniewski, David. Worlds of shadow: Teaching with shadow puppetry. Englewood, Colo: Teacher Ideas Press, 1997.

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

Ghulam Sarwar (Ghulam Sarwar Yousof), editor, ed. Puppetry for all times: Papers presented at the Bali Puppetry Seminar 2013. Singapore]: Partridge, 2014.

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

Robson, Denny. Shadow theater. New York: Gloucester Press, 1991.

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

Kukla ve Gölge tiyatrosu: Puppetry and shadow play. Bursa: Bursa Büyükşehir Belediyesi, 2014.

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

Press, Klutz, ed. Shadow games: A book of hand & puppet shadows. Palo Alto, CA: Klutz Press, 1996.

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

Ransome, Grace Greenleaf. Puppets and shadows: A selective bibliography to 1930. Lewiston: Edwin Mellen Press, 1997.

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

Figurentheater: Lebendige Tradition des Puppen- und Schattenspiels in Asien. Stuttgart: Belser Verlag, 1991.

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

Sumadji. Mengenal kerajinan wayang kulit. Pasuruan: Garoeda Buana Indah, 1995.

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

Māthāwō̜n, Sučhittrā. Nang yai læ nang talung. Krung Thēp: Bō̜risat ʻĒt. Thī. Phī. Wœ̄n Mīdīa, 1998.

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

Vanessa, Bailey, ed. Shadow theatre. London: Franklin Watts, 1990.

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

Book chapters on the topic "Shadow puppetry"

1

Lambeth, Cheralyn L. "Shadow Puppets." In Introduction to Puppetry Arts, 109–28. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429442858-7.

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

Kostidakis, Theodoros. "Dramatherapy and Greek Traditional Shadow Puppetry." In Dramatherapy, 99–113. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003042792-9.

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

Zhang, Hui, Yuhao Song, Zhuo Chen, Ji Cai, and Ke Lu. "Chinese Shadow Puppetry with an Interactive Interface Using the Kinect Sensor." In Computer Vision – ECCV 2012. Workshops and Demonstrations, 352–61. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33863-2_35.

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

Misalucha-Willoughby, Charmaine G. "The Role of the United States’ Quasi-Alliances in Asia: Shadow Puppetry or Hard Alliances?" In International Security in the Asia-Pacific, 175–93. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60762-7_8.

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

Talib, Abdullah Zawawi, Mohd Azam Osman, Kian Lam Tan, and Sirot Piman. "Traditional Shadow Puppet Play – The Virtual Way." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 246–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30214-5_32.

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

Talib, Abdullah Zawawi, Mohd Azam Osman, Kian Lam Tan, and Sirot Piman. "Design and Development of an Interactive Virtual Shadow Puppet Play." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 118–26. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33329-3_14.

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

Mizrahi, Daryo. "One Man and His Audience: Comedy in Ottoman Shadow Puppet Performances." In Medieval and Early Modern Performance in the Eastern Mediterranean, 271–86. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.lmems-eb.1.102272.

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

Piman, Sirot, and Abdullah Zawawi Talib. "An Intelligent Instructional Tool for Puppeteering in Virtual Shadow Puppet Play." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 113–22. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30214-5_13.

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

Mrázek, Jan. "More than a Picture: The Instrumental Quality of the Shadow Puppet." In Studies in Southeast Asian Art, edited by Nora A. Taylor, 49–73. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-005.

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

Chen, Tin-Kai. "Preserving Chinese shadow puppetry culture through digitisation." In The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites, 210–18. Routledge, 2019. http://dx.doi.org/10.4324/9780429506765-19.

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

Conference papers on the topic "Shadow puppetry"

1

Brand, M. "Shadow puppetry." In Proceedings of the Seventh IEEE International Conference on Computer Vision. IEEE, 1999. http://dx.doi.org/10.1109/iccv.1999.790422.

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

Lin, Min, Zhenzhen Hu, Si Liu, Meng Wang, Richang Hong, and Shuicheng Yan. "eHeritage of shadow puppetry." In the 21st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2502081.2502104.

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

Hu, Zhenzhen, Min Lin, Si Liu, Meng Wang, Richang Hong, and Shuicheng Yan. "eHeritage of shadow puppetry." In the 21st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2502081.2502285.

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

Huang, Zhe, Vamshi Krishna Madaram, Saad Albadrani, and Tam V. Nguyen. "Shadow Puppetry with Robotic Arms." In MM '17: ACM Multimedia Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123266.3127925.

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

Grant, Ian A. "Surfaces and Shadows: Digital Shadow Puppetry and Augmented Silhouette Performance." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.46.

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

He, Mingyun, Xinhao Song, Ping Kuang, Fan Li, and Haoshuang Wang. "Shadow Puppetry Classification Using Convolutional Neural Networks." In 2018 15th International Computer Conference on Wavelet Active Media Technology and Information Processing (ICCWAMTIP). IEEE, 2018. http://dx.doi.org/10.1109/iccwamtip.2018.8632562.

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

Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

Full text
Abstract:
Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
APA, Harvard, Vancouver, ISO, and other styles
8

Chen, Tin-Kai, Hsiao-Ping Fang, Yingchun Tian, Hsiao-Lin Fang, Yan-Jie Li, Shih-Hsuan Tseng, and Su-En Miao. "Design and Evaluation of Social Interfaces for Cultural Exhibitions of Chinese Shadow Puppetry." In 2011 IEEE 35th Annual Computer Software and Applications Conference - COMPSAC 2011. IEEE, 2011. http://dx.doi.org/10.1109/compsac.2011.52.

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

Gagné, Michel. "Insanely twisted shadow puppets - 12 interstitials." In ACM SIGGRAPH 2006 Computer animation festival. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179196.1179240.

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

Piman, Sirot, and Abdullah Zawawi Talib. "Puppet modeling for real-time and interactive virtual shadow puppet play." In 2012 Second International Conference on Digital Information and Communication Technology and it's Applications (DICTAP). IEEE, 2012. http://dx.doi.org/10.1109/dictap.2012.6215364.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Shadow puppetry' for particular source types:
Journal articles Dissertations / Theses 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