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Relevant bibliographies by topics / Video art Video art Animated films

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Academic literature on the topic 'Video art Video art Animated films'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Video art Video art Animated films"

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Marin, Ricardo, Rocío Lara, and Javier Valseca. "Vídeo espontáneo infantil en contextos familiares y cine de animación en contextos escolares. Dos investigaciones preliminares en Granada y Tegucigalpa." eari. educación artística. revista de investigación, no. 10 (December 19, 2019): 272. http://dx.doi.org/10.7203/eari.10.14513.

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Resumen: Presentamos dos indagaciones preliminares sobre cine y Educación Artística. Primera, un estudio de caso de un niño sobre video espontáneo infantil (VEI) en un contexto familiar en Granada (España), que responde a la pregunta ¿qué vídeos produce la infancia de forma espontánea? Como conclusión inicial a partir de esta observación longitudinal no-participante sugerimos cinco fases: (a) exploración autónoma del aparato de grabación; (b) se actúa delante de la cámara fija; (c) la cámara sigue a la acción, se graba al mismo tiempo que se hace cualquier cosa; (d) imitación directa de sus ‘y

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Chmelyk, Iryna. "Loving Vincent: Online Exhibition as an Innovative Form of Presenting Visual Art in Ukraine." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 145–52. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235242.

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The article considers the online exhibition and art events Loving Vincent as the relevant forms of exhibition of art works, the main idea of which is to promote the work of Vincent van Gogh and the art of the animated films in Ukraine. The aim of the paper isto highlight the importance of the latest forms of visual art representation in Ukraine on the example of the online exhibition Loving Vincent and a number ofrelated events dedicated to the world’s first full-length eponymous animated feature film about the life of Vincent van Gogh. The role of Ukrainian artists in the process of working o

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Leggott, James. "Come to Daddy? Claiming Chris Cunningham for British Art Cinema." Journal of British Cinema and Television 13, no. 2 (2016): 243–61. http://dx.doi.org/10.3366/jbctv.2016.0311.

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Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘fe

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Cable, Umayyah. "An Uprising at The Perfect Moment." GLQ: A Journal of Lesbian and Gay Studies 26, no. 2 (2020): 243–72. http://dx.doi.org/10.1215/10642684-8141830.

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This article examines two overlapping controversies at the Institute of Contemporary Art in Boston, Massachusetts, in the early 1990s over the attempted censorship of both Robert Mapplethorpe’s show The Perfect Moment and Elia Sulieman’s Palestinian film and video art exhibition Uprising. By analyzing the print news discourse on these controversies, namely, regarding the representations of children in The Perfect Moment and in two of the Uprising films (Children of Fire by Mai Masri and Intifada: Introduction to the End of an Argument by Suleiman and Jayce Salloum), the author articulates how

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Chien, Irene. "Deviation / Red vs. Blue: The Blood Gulch Chronicles." Film Quarterly 60, no. 4 (2007): 24–29. http://dx.doi.org/10.1525/fq.2007.60.4.24.

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ABSTRACT Machinima are computer-animated films shot within video games that expose possibilities and pitfalls in the increasing convergence of cinema and video games. By satirically dramatizing the inner lives of video game characters, machinima works Deviation and Red vs. Blue undermine the cycle of combat and death that drives first-person shooters.

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Nikolova, Mariya. "EDUCATIONAL VIDEO FOOTAGE THROUGH THE LENS OF THE ART ANIMATED CLASSROOM." Education and Technologies Journal 11, no. 1 (2020): 168–74. http://dx.doi.org/10.26883/2010.201.2253.

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The article presents a unique, unusual and original experience of educational practice based on the innovative axioms of art animation in education designed to achieve educational goals. The analysis treats of a variety of concepts and trends in the application of video clips and educational videos footage in the classroom to achieve high-order goals – levels of analysis, synthesis and evaluation of the cognitive taxonomy of Benjamin Bloom. The text considers an attractive training practice for creating video production by the trainees, presented as an original composition of creative and conc

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Hilderbrand, Lucas. "The Art of Distribution: Video on Demand." Film Quarterly 64, no. 2 (2010): 24–28. http://dx.doi.org/10.1525/fq.2010.64.2.24.

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An account of the rise of Video on Demand as a method of distribution for arthouse and independent films, focusing on the IFC Films and Magnolia Pictures companies, and charting the growing success of streaming video as opposed to DVD and theatrical releasing.

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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.

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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. I

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Nie, Sen, and Yan Liu. "Analysis of Application of Digital Media Arts." Advanced Materials Research 989-994 (July 2014): 4223–25. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.4223.

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In 21st century, with the leaping advances in science and technology, computers and the rapid development of science and technology industry, formed by combining human intelligence and high-tech digital content industry that corresponds to the rapid development, and developing at an astonishing speed into a pillar industry of the knowledge economy in the new century. It is well known that digital media are based on digitized text, sound, images, Graphics, animation and video images as information carriers, through means of dissemination and development of science and technology. Basic characte

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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.

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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have under

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Dissertations / Theses on the topic "Video art Video art Animated films"

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Costanza, Matt Ferris Kelly Eremiasova Michaela. "Awen : flowing spirit /." Online version of thesis, 2007. http://hdl.handle.net/1850/5521.

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Katz, Sharon. "Animated Video Projection on Objects – a Studio Art Practice." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31543.

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This thesis support paper is the trajectory of my search to uncover what constitutes an aesthetic for my current practice and to unpack what I think the work is about. In this paper I trace the development of my process, identify primary aesthetic preferences, elucidate inspirations, and finally present several interpretations of the work. I came into the MFA program with the intention of moving my practice in animation to an art form that was non-linear and free of a flat projection screen and story arc. Working with materials is important to me and I also wanted to find a way to integrate t

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Stansell, Thomas Micah. "Between You and Me." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/34.

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In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.

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Kuronen, Suzanne. "Figuring space : considering the figure in the construction of space as materialist film." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0015.

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Figuring Space; considering the figure in the construction of space in materialist film is an analysis of film space that uses either the image of a figure or the actual figure of the viewer in its construction. The thesis focuses on particular screen works of William Raban, Guy Sherwin, Malcolm Le Grice, Chris Welsby, Nicky Hamlyn, Peter Gidal (all members of the London Filmmakers’ Cooperative) and the Canadian artist Michael Snow. It discusses the works in relation to the basic materials of time, light and sound found in film and video. The thesis looks at the way the film frame was implemen

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Seki, Celia Harumi. "Folhear memorias : das imagens literarias as imagens cinematografias." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284631.

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Orientador: Antonio Fernando da Conceição Passos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-11T06:00:45Z (GMT). No. of bitstreams: 1 Seki_CeliaHarumi_D.pdf: 2731695 bytes, checksum: 61a864c82617352109523856e33f8e7a (MD5) Previous issue date: 2007<br>Resumo: Esta pesquisa apresenta como tema principal o processo de criações artísticas audiovisuais inspiradas em textos literários. Da leitura dos textos poéticos decorrem imagens e sensações de caráter singular, que são transpostas para obras audiovisuais. A pesquisa realiza

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these tex

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these tex

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CHANG, LI-HSUN, and 張立勳. "The Discourse of animated film making of 「Patient No.13」 and the study of composite art on video taping combined with CG." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/58828728760385533815.

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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系<br>97<br>Abstract “Patient No. 13” is an illusory hyper-realistic story filmed by multiple process shots combining 3D animation with real images. It describes a past-and-present causality brought by a phychedelic patient confined in a phychhouse. He travels throught different lives, breaking the limits of time and space, and gives his doctor a real-like fantastic experience. His illusory travels extricate not only himself but also his doctor from all encumberances that bothers him for years. The illusory world was both familiar and far-away for me who dreams a lo

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KALIVODOVÁ, Lucie. "Animovaný videoklip ve výtvarné výchově na prvním stupni základní školy." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-153052.

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The thesis focuses on ways of creating an animated video clip as part of art education at basic school and on various views of art as a school subject, in which multimedia creation is used. The theoretical part describes the animated film as a specific way of intermedia expression in the context of past and contemporary art. It deals with the origin and history of animated film and describes the production and various techniques used for its creation. It analyzes the scope for the creation of an animated video clip in intermedia and experimental activities in art education at basic school. The

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Chia-Wei, Hsu, and 許家維. "Video Art, Rethinking the Narratives - From Anna Sanders Films towards the In-between Narratives." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54061332289475629929.

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碩士<br>國立臺灣藝術大學<br>造形藝術研究所<br>98<br>In 1997, the foundation of Anna Sanders Films stated clearly the development of relationship between cinema and plastic art. This company was composed by several French artists lively in 90s. They applied cinema narratives into their works, and attempted to refresh the debate on video installation and cinema. In this essay, I deliberate works produced by these artists as a main object, and discuss their practices in in-between narrative which cross both plastic art and cinema field. Based on their doubt on video installation, using Structuralism as an analyzi

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Books on the topic "Video art Video art Animated films"

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Ledoux, Trish. The complete anime guide: Japanese animation video directory & resource guide. Tiger Mountain Press, 1995.

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Ledoux, Trish. The complete anime guide: Japanese animation video directory & resource guide. 2nd ed. Tiger Mountain Press, 1997.

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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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The foley grail: The art of performing sound for film, games, and animation. Focal Press, 2009.

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Fantasia 2000: Visions of hope. Disney Editions, 1999.

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Set the action!: Creating backgrounds for compelling storytelling in animation, comics, and games. Focal Press, 2012.

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Richardson, Emily. Time frames: 3 films. Stour Valley Arts, 2004.

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Goldstein, Jack. Films, records, performances and aphorisms 1971-1984 =: Filme, Schallplatten, Performances und Aphorismen 1971-1984. Walther Konig, 2003.

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Fowler, Luke. Luke Fowler: Two-frame films 2006-2012. MACK, 2014.

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The art of projectionism. Czernin Verlag, 2008.

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Book chapters on the topic "Video art Video art Animated films"

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Berry, Marsha. "Making Films and Video Art with Smartphones." In Creating with Mobile Media. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65316-7_7.

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Vanderplank, Robert. "The State of the Art II: Selected Research on Other Issues in Watching Captioned TV, Films and Video." In Captioned Media in Foreign Language Learning and Teaching. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-50045-8_5.

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"Remediating the New Media." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3835-7.ch007.

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By applying the researching devices of media studies, art theory, film theory, philosophy, and cultural studies as a theoretical background, this chapter aims to explore the role of remediation in new media production, where the digital procedures enable smooth interaction, remixes, mashups, and hybridization. Remediation brings the dynamics into the institution of contemporary art and electronic literature by stimulating traditional and new media to refashion each other and generate novel hybrids at the intersection of several media (e.g. animated digital textuality which refashions film and video) as well as media contexts. Although the key reference of this chapter is Bolter and Grusin's theory of immediacy, hypermediacy, and remediation, the issues of post-remediation theory are addressed as well.

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"LCD Art: Making Animated Modern Daguerreotypes and Alternative Video Projectors." In Handmade Electronic Music. Routledge, 2009. http://dx.doi.org/10.4324/9780203879627-37.

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Westrup, Laurel. "Spike Jonze’s Abbreviated Art of the Suburbs." In ReFocus: The Films of Spike Jonze. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0013.

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The Suburbs project with Arcade Fire brings together many aspects of Jonze’s oeuvre: the poetry of motion he developed in his early work as a skateboarding videographer, the naturalistic work with non-actors that he developed in his documentary work, and the close integration of lyrics and visuals that he developed in his work as a music video director. This essay considers the elliptical audiovisual storytelling that Jonze has mastered in a career spanning disparate filmmaking modes. Westrup proposes that Jonze’s work with Arcade Fire envisions a more holistic melding of music, imagery, and narrative that is fluid and polysemic.

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Hobbs, Simon. "Early Extremity on DVD: History, Precursors and Exploitation Auteurs." In Cultivating Extreme Art Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427371.003.0003.

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This chapter uses a historically and geographically mobile approach to map a range of films and filmmakers often absent from discussions of extreme cinema. The chapter starts with an exploration of the extreme works of directors like Luis Buñuel, Ingmar Bergman and Roman Polanski, stressing their importance to the creation of an extreme art aesthetic. The chapter focuses on the paratextuality of these filmmakers, and studies DVD and Blu-ray versions of their more extreme texts. Focusing closely on how exploitation marketing traditions co-exist with their art film counterparts on these objects, the chapter highlights the complexity of extremity’s commercial identity. The chapter takes the same approach to its study of European exploitation cinema. Using home entertainment paratexts to highlight influential films, the chapter investigates companies such as Arrow Video, Vipco, Anchor Bay, BFI and Redemption DVD, paying special attention to their handling of a range of directors, including Lucio Fulci, Dario Argento, and Jean Rollin. The chapter underscores the crucial role exploitation cinema had in shaping extreme art cinema and highlights the contradictory role extremity performs within the commercial sphere.

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Butler, Alison. "Objects in Time." In Theorizing Film Through Contemporary Art. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467_ch02.

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As artists’ films have become more common in museums, artists have begun to film the museum and its objects with increasing frequency. The artists’ museum film opens up a dialogue between the moving image and the museum object, in which the medium’s capacity to preserve and remodel time resonates with the object’s power as a repository of past time. Through two examples, Tacita Dean’s Day for Night (2009) and Elizabeth Price’s A Restoration (2016), this essay explores the ways that these artists’ understanding of the temporalities of analogue film and digital video underpin their poetic expression of the temporality of objects. Rather than dematerializing its objects, the museum film is rematerialized by them, through the encounter between their specific temporalities.

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Kolker, Robert P., and Nathan Abrams. "“A Genuine Work of Honest Art”." In Eyes Wide Shut. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190678029.003.0007.

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Outside of Japan and southern Europe, Eyes Wide Shut met with a poor reception. Reviews were not universally negative, but there were few raves. Those who liked the film understood its intricacies. Fairly quickly, serious critics and film scholars began analyzing the film with the attention it deserved, focusing on its themes and structure. The film began to enter popular culture, with its title, key scenes, and music turning up in unexpected places, including television, movies, video games, music videos, and art. Online conspiracy theorists made much of the orgy sequence, writing about the Illuminati and other dark meanings supposedly buried in the film. The establishment of the Stanley Kubrick Archive has helped scholars understand the valuable details of Eyes Wide Shut and Kubrick’s other films.

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Hobbs, Simon. "Contemporary Extremity on DVD: Trends, Hard-core and Geographic Mobility." In Cultivating Extreme Art Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427371.003.0006.

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This chapter continues the selective history of extreme art cinema instigated in Chapter 3. Focusing predominantly on the releases of Artificial Eye and Tartan Video, the chapter details the re-emergence of extremity in France during the late 1990s and early 2000s, and looks at the paratextual treatment of Gaspar Noé, Catherine Breillat, and Claire Denis. Thereafter, the chapter expands its geographic lens, and examines extreme art production across Europe, with analysis of The Idiots, Man Bites Dog, Tesis, A Hole in my Heart and Dogtooth. The separation of New French Extremity from other forms of European extremity allows the French films’ impact to be appropriately measured. In essence, the chapter argues that the success of the New French Extremity changed paratextual representations of extremism, making them more popular, common and commercially viable. Thereafter, the chapter considers extreme horror narratives such as Martyrs, Frontier[s], and Switchblade Romance, outlining the way they influence and become influenced by paratextual images of extreme art cinema. By adopting this structure, the chapter again exposes the importance of both highbrow and lowbrow taste within the conceptualisation of extreme art cinema.

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Bredin, Marian. "‘Who Were We? and What Happened to Us?’: Inuit Memory and Arctic Futures in Igloolik Isuma Film and Video." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0002.

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This chapter analyses the history of one of the most successful indigenous film- and video-making groups, Nunavut’s Isuma. Based in Igloolik, Bredin charts the emergence of the group, as led by Zacharias Kunuk and Norman Cohn, while addressing the historical limitations on Inuit filmmaking in Canada. Bredin examines the impact of Isuma’s works both on indigenous filmmaking in the Arctic and in Canada, as well as on global art cinema. Bredin provides a detailed history of Isuma from its early days in community activism and Inuit video production, to its move into documentary and feature filmmaking. The chapter focuses on The Journals of Knud Rasmussen (2006) and also considers works such as Cannes award winner Atanarjuat: The Fast Runner (2001). Bredin concludes with an analysis of Isuma’s distribution strategies and its goal to connect with both indigenous and non-indigenous audiences.

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