Relevant bibliographies by topics / Video-Portrait

Contents

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

Academic literature on the topic 'Video-Portrait'

Author: Grafiati
Published: 9 September 2021
Last updated: 18 February 2022

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Journal articles on the topic "Video-Portrait"

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Jiang Li, Keman Yu, Tielin He, Yunfeng Lin, Shipeng Li, and Ya-Qin Zhang. "Scalable portrait video for mobile video communication." IEEE Transactions on Circuits and Systems for Video Technology 13, no. 5 (May 2003): 376–84. http://dx.doi.org/10.1109/tcsvt.2003.811611.

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Fiss, Juliet, Aseem Agarwala, and Brian Curless. "Candid portrait selection from video." ACM Transactions on Graphics 30, no. 6 (December 2011): 1–8. http://dx.doi.org/10.1145/2070781.2024162.

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Wang, Yifan, Wenbo Zhang, Lijun Wang, Fenghua Yang, and Huchuan Lu. "Temporal consistent portrait video segmentation." Pattern Recognition 120 (December 2021): 108143. http://dx.doi.org/10.1016/j.patcog.2021.108143.

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Liang, Dongxue, Kyoungju Park, and Przemyslaw Krompiec. "Facial Feature Model for a Portrait Video Stylization." Symmetry 10, no. 10 (September 28, 2018): 442. http://dx.doi.org/10.3390/sym10100442.

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With the advent of the deep learning method, portrait video stylization has become more popular. In this paper, we present a robust method for automatically stylizing portrait videos that contain small human faces. By extending the Mask Regions with Convolutional Neural Network features (R-CNN) with a CNN branch which detects the contour landmarks of the face, we divided the input frame into three regions: the region of facial features, the region of the inner face surrounded by 36 face contour landmarks, and the region of the outer face. Besides keeping the facial features region as it is, we used two different stroke models to render the other two regions. During the non-photorealistic rendering (NPR) of the animation video, we combined the deformable strokes and optical flow estimation between adjacent frames to follow the underlying motion coherently. The experimental results demonstrated that our method could not only effectively reserve the small and distinct facial features, but also follow the underlying motion coherently.
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Podvolotskiy, I. N. "Preliminary Study of Video Images of Humans in Portrait Examination." Actual Problems of Russian Law, no. 9 (October 5, 2019): 115–22. http://dx.doi.org/10.17803/1994-1471.2019.106.9.115-122.

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The paper discusses the promising trends of a preliminary study of a person’s appearance captured using video recording devices. A characteristic of the preliminary study of the portrait data storage device seized during the inspection of the accident location is a sequential study of their external characteristics and internal content in order to further solve diagnostic problems aimed at establishing the characteristics of the surveying, image quality, and lack of signs of changing the initial content of the video or photo image. To date, the possibility of diagnosing human characteristics by age, physique, clothing, and manner of walking is being studied. According to the results of the analysis of scientific literature and practical activities of experts, it can be concluded that it is necessary to improve the methodology of portrait examination by including computer technologies for studying surveying parameters and signs of possible interference with the recording integrity. At the same time, to effectively identify the characteristics and states of people’s appearance transmitted by means of modern storage devices of portrait images, it is important that a team of experts conduct a comprehensive study of the images taking into account the knowledge in anatomy, anthropology, forensic medicine, computer technology, mathematical modeling, etc.
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Chen, Yao, Ao Chen, Zhiwei Jiang, and Jianfu Zhong. "Surveillance Video Portrait Recognition Preprocessing Technology for Police Actual Combat." Open Journal of Applied Sciences 09, no. 05 (2019): 394–402. http://dx.doi.org/10.4236/ojapps.2019.95033.

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Brečević, Geska Helena, and Robert Brečević. "Verfünfungseffekt: Delving into the Enchanted World of Fivefold-portraits and Self-partitioning." Magic, Vol. 5, no. 1 (2020): 66–71. http://dx.doi.org/10.47659/m8.066.ess.

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Discovered during a media-archeological investigation into optical illusions, trick photography, and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph. It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also – due to the unforeseen spread of a recently mutated virus – the prevailing circumstances under which the work was to be completed. In Verfünfungseffekt, we use the medium of video to create a kaleidoscopic portrait-in-motion where the perspective-shifting shards of ego are recorded in a synchronized performance of solipsist intersubjectivity. The video-multigraph allows for the compositing of tiny offsets in time-shifting delays applied to one, or several, of the mirrored selves – shattering the cloned perfection, as well as the conformity, of the multiple presences. This optical illusion necessitates reflection on how media alters our perceptions of time and space; it thereby arouses wonder about our place in existence. Keywords: Photo-multigraph, fivefold-portrait, mirror photography, video-multigraph, crisis of presence
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Kim, Yong-Woon, Yung-Cheol Byun, and Addapalli V. N. Krishna. "Portrait Segmentation Using Ensemble of Heterogeneous Deep-Learning Models." Entropy 23, no. 2 (February 5, 2021): 197. http://dx.doi.org/10.3390/e23020197.

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Image segmentation plays a central role in a broad range of applications, such as medical image analysis, autonomous vehicles, video surveillance and augmented reality. Portrait segmentation, which is a subset of semantic image segmentation, is widely used as a preprocessing step in multiple applications such as security systems, entertainment applications, video conferences, etc. A substantial amount of deep learning-based portrait segmentation approaches have been developed, since the performance and accuracy of semantic image segmentation have improved significantly due to the recent introduction of deep learning technology. However, these approaches are limited to a single portrait segmentation model. In this paper, we propose a novel approach using an ensemble method by combining multiple heterogeneous deep-learning based portrait segmentation models to improve the segmentation performance. The Two-Models ensemble and Three-Models ensemble, using a simple soft voting method and weighted soft voting method, were experimented. Intersection over Union (IoU) metric, IoU standard deviation and false prediction rate were used to evaluate the performance. Cost efficiency was calculated to analyze the efficiency of segmentation. The experiment results show that the proposed ensemble approach can perform with higher accuracy and lower errors than single deep-learning-based portrait segmentation models. The results also show that the ensemble of deep-learning models typically increases the use of memory and computing power, although it also shows that the ensemble of deep-learning models can perform more efficiently than a single model with higher accuracy using less memory and less computing power.
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Ryan, Kathleen M. "Vertical video: rupturing the aesthetic paradigm." Visual Communication 17, no. 2 (October 28, 2017): 245–61. http://dx.doi.org/10.1177/1470357217736660.

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Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.
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Grier, David Alan. "Video review: N is a Number. A portrait of Paul Erdős." Endeavour 24, no. 4 (December 2000): 177. http://dx.doi.org/10.1016/s0160-9327(00)01320-x.

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Dissertations / Theses on the topic "Video-Portrait"

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Uldukis, Vytautas. "Sociopato portreto vaizdavimas kinematografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_105531-78184.

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Diplominiame darbe „Sociopato portreto vaizdavimas kinematografijoje“ nagrinėjama kaip ir kokiomis priemonėmis kino filmuose vaizduojami sociopatijos paveikti asmenys. Šis reiškinys psichologiškai dar nėra visiškai išnagrinėtas, todėl yra labai sunku visuomenėje nustatyti sociopatus. Pasireiškia tik atskiri atvejai kai jie yra demaskuojami dėl to, kad nusižengė įstatymams ir nepakluso teisėtvarkai. Nemažai įvairaus laikotarpio filmų sukuriama remiantis sociopatijos reiškiniu, kuriuose sukuriami jos paveikti personažai. Nors jie yra visi skirtingi, bet turi nemažai bendrų bruožų, tiek savo išvaizdoje ir elgesyje, tiek vizualiniame portreto vaizdavime. Diplominį darbą sudaro dvi dalys – teorinė ir praktinė. Pirmojoje dalyje remiantis Aleksanrd Mitta, David A. Cook, Béla Balázs, Nerijaus Mileriaus knygomis nagrinėjami ir bendrai aptariami sociopatų portretai kino filmuose, supažindinama su jų vaizdavimo ypatybėmis ir būdo bruožais. Aptariamas sociopatijos reiškinys šiuolaikiniame Lietuvos kino kontekste. Atidžiau įsigilinama į pasirinktus filmus, aprašomos psichologinių portretų vizualinės savybės, taip pat aktoriai, jų būdo bruožai, elgsena, pagalbinės portreto formavimo priemonės. Antrojoje, praktinėje dalyje aprašomas analizuotos medžiagos pritaikymas praktiniam darbui, idėjos, koncepcijos suformavimas ir vizualiniai bei techniniai sprendimai. Diplominio darbo praktinės dalies tikslas – sukurti sociopato psichologinį portretą ir perteikti jį muzikiniame klipe.
The thesis “Representation of the Sociopath Portrait in Cinematography” examines how and by what means the represented people in cinematography are affected by sociopathy. As this phenomenon is not yet fully examined psychologically, it is hard to detect sociopaths in the society. Only special cases are discovered, due to the fact that the law was broken and the person disturbed the law and order. A significant number of films from different periods were created with sociopathy phenomenon as its basis, in which the characters are affected by it. Even though all of them are different, however, a lot of them share similar traits, be it outward appearance and behavior, as well as in representing the visual portrait. The thesis consists of two parts – theoretical and practical. The first part deals with the general examinations and postmortem of the sociopath portraits in cinematography, introduction to the representation qualities and their mannerisms based on books by Aleksanrd Mitta, David A. Cook, Béla Balázs, Nerijus Milerius. The phenomenon of sociopathy in contemporary Lithuanian film context is discussed. A closer investigation of the selected films is conducted, the visual psychological features of the portraits are described, as well as the actors and their traits, behavior, auxiliary portrait-making means. In the second, practical part of the thesis, the application of the analyzed material to the practical part, ideas, concept formation and visual as well as technical... [to full text]
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Lecomte, Sophie. "Le fard comme médium, objet d'étude et d'expérimentation plastique." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10065/document.

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Le fard est une composition dont l’application sur la peau donne à celle-ci plus d’éclat ou masque un défaut physique. Accusé de tromper, instrument futile ou diabolique auquel fut comparée la peinture, le fard se définit par sa fonction mais ne s’y réduit pas. L’observation de trois vidéos permet d’étudier le fard en tant qu’il est matière colorée et conduit à déterminer ses propriétés spécifiques et les possibilités plastiques qu’elles véhiculent.Cette recherche vise à établir les modalités d’une relation entre le fard, la couleur, et le corps support au travers d’expériences plastiques filmées pour le caractériser ensuite comme médium à partir d’une pratique personnelle
Makeup is a composition which when applied to the skin gives it more brightness or hides a physical defect. Accused of cheating, a futile or diabolical instrument, which paint has been compared, make-up is defined by its function but has lost nothing through this.The plastic arts experience allows study of make-up because it is colored and this helps determine its specific properties and plastic possibilities.This research aims to establish the details of a relationship between makeup, color and the body, using several videos to characterize it as a medium based on personal practice
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Ishii, Kotoe. "Double bind : splitting identity and the body as an object /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7075.

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Double Bind: Splitting identity and the body as an object is a research project consisting of studio-based practice presented mainly in video installation format. This work looks at hysterical symptoms as a performance of a body’s split identity. The project draws on the Lacanian theory of Mirror Stage which proposes that the self experienced by the subject, and the image of that self (represented in a mirror-like reflection, or an image) are different to each other, and the development of self-awareness as misrecognition of one’s self. As a conspicuous example of split body, Chapter One describes how the hysterical body, in clinical and artistic representation, is dissociated into multiple selves. In Chapter Two, I discuss some examples of contemporary performance artists who use themselves as subjects, but whose bodies become objects that do not portray the self. In the final chapter I explain how, in my video work, I objectify my own body and how I assess whether this is a mode of self-portraiture.
During the course of this research, I studied a wide range of medical resources and psychoanalytical literature, much of which employed visual illustration and documentation. For example, I have drawn inspiration from Jean-Martin Charcot’s photographic documents of female hysterics whom he treated as patients at the French hospital of La Salpêtrière in the late 19th century; in particular the figure of his most famous patient, known as Augustine. My research also involved studio-based investigation, such as experimentations with the performance of my own body in video format, and the contextual study of artistic and critical texts relating to contemporary media art.
The aim of this research is to demonstrate the ways in which my video performances split the body, creating an Other within one body that can be compared with the hysterical body of a patient, like Augustine, performing for her doctor. In this condition, I perform as the subject and the object of the gaze at the same time. My self-portrait is split in this way: it creates a body double, which I misrecognise as myself. But in doing so, I am both the director and the performer of the image. This is the double bind that my video work puts me into.
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Takacs, Stephen R. "Sing the Body Electric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343344994.

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Aboussioud, Rachid. "Dynamique de la persistance identitaire : complémentarité graphique et numérique dans l'autoportrait du XXIe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010561.

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La Dynamique de la Persistance Identitaire se veut, à travers l'autoportrait plastique, une analyse des notions du moi et du surmoi. L'autoportrait soulève pour la majorité des artistes, des plus anciens aux plus novateurs, la question de l'identité à travers l'apparence, le caractère, mais aussi des origines sociales et culturelles et son exacerbation amène à un narcissisme qui fut le moteur de l'activité de nombreux maîtres parmi les plus illustres. Se remémorer certaines périodes de la vie, des souvenirs heureux ou malheureux de situations vécues, conduit à l'introspection, où le temps est une notion majeure artistique et nécessaire à la structuration psychologique d'un individu. De nombreux artistes se sont penchés sur leur image en employant de nombreuses techniques plastiques traditionnelles et, depuis peu, expérimentales (expériences tridimensionnelles). Ces représentations, à l'aide des nouveaux outils informatiques accessibles à tous, sont désormais modifiables à volonté, apportant un choix illimité d'altérations réversibles en mode uniquement virtuel. Dans un travail initial (Evolution Identitaire) ce dessein interroge l'autoportrait de l'auteur à l'aide de dessins unicolores éclairés de rehauts de blancs ou chaque visage apparaît trait par trait pour constituer l'individu. La Dynamique de la Persistance Identitaire remet en question ces trente et un visages représentés le plus objectivement possible pour dévier de l'image réelle à l'image rêvée, par la technique du Makeover, très utilisé sur internet et donnant ainsi une possibilité de reconquête de l'identité, à la recherche d'une esthétique optimisée, adaptée au choix de l'artiste: deux cent dix-sept dessins, toutes réalisations confondues, sont ainsi conçus. Cet ensemble est diffusé à travers une exposition et une vidéo et il est adaptable à plusieurs espaces sous trois formes complémentaires :une double frise chronologique en parallèle d'autoportraits format A4 sur un papier légèrement teinté où sont confrontées représentations objectives et subjectives des formes suivant les critères des lois de la Gestalt. une vidéo projection ou les visages se dévoilent progressivement, donnant ainsi naissance à une technique dite "dessin évolutif', proche de l'animation, et donnant vie à l'individu avec le morphing en étape ultime qui dévoile avec fluidité un nouveau visage rectifié selon les désirs de l'auteur, une longue frise chronologique format A2 blanc où l'image vécue est couplée et confronté à l'image idéalisée, sur une même représentation, par deux couleurs différentes pour signifier les corrections accomplies. Cette recherche devrait être complétée, dans l'avenir, toujours avec pour moteur la recherche de réalisations d'autoportraits tridimensionnels, à l'aide de technologies pointues, telles anamorphoses et imprimante 3D
Dynamics of identity Persistence wants, through the plastic self-portrait, an analysis of the concepts of ego and superego. Self Portrait raises for the majority of artists, from the oldest to the most innovative, the question of identity through the appearance, character, but also social and cultural origins and exacerbation leads to a narcissism that was the engine the activity of man y of Art masters. Remember certain periods of life, happy or unhappy memories of life situations, leads to introspection, where time is a necessary artistic and psychological structuring an individual major concept. Many artists have focused on their image using many traditional engineering plastics and, more recently, experimental (three-dimensional experiments). These representations using new tools accessible to all are now modified at will, bringing unlimited choice reversible alterations only virtual mode. In initial work (Identity Evolution) this design questions the portrait of the author with one colored drawings illuminated highlights of each face appears white or line by line to form the individual. Dynamics of identity Persistence puts into these thirty questions and faces presented as objectively as possible to deviate from the actual image to the perfect picture, the technique Makeover, widely used on the Internet and giving an opportunity to reconquer identity, the search for an aesthetic optimized, adapted to the choice of the artist: two hundred and seventeen drawings, ail outputs combined, are well designed. This package is distributed through an exhibition and a video that is adaptable to many spaces in three complementary ways:-A double timeline of self-portraits in parallel on A4 paper with a lightly tinted face objective and subjective representations of forms depending on the requirements of Gestalt's laws. -A video projection where faces are gradually revealed, giving rise to " evolutionary drawing " , close to the animation technique, and giving life to the individual with the morphing ultimate step reveals a new face smoothly corrected according to the wishes of the author. -A long white frieze chronological format A2 where the image is coupled lived and confronted with the idealized image, on the same representation by two different colors to signify the completed corrections. This research should be completed in the future, always with engine research achievements of three-dimensional self-portraits, with pointed and such anamorphic 30 printer technologies
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Flajšmanová, Jana. "Behaviour of Objects in Structured Light Fields and Low Pressures." Doctoral thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2021. http://www.nusl.cz/ntk/nusl-444991.

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Studium chování opticky zachycených částic nám umožňuje porozumět základním fyzikálním jevům plynoucím z interakce světla a hmoty. Předkládaná práce podává vysvětlení zesílení tažné síly působící na opticky svázané částice ve strukturovaném světelném poli, tzv. tažném svazku. Ukazujeme, že pohyb dvou opticky svázaných objektů v tažném svazku je silně závislý na jejich vzájemné vzdálenosti a prostorové orientaci, což rozšiřuje možnosti manipulace hmoty pomocí světla. Následně se práce zaměřuje na levitaci opticky zachycených částic ve vakuu. Představujeme novou metodologii na charakterizaci vlastností slabě nelinearního Duffingova oscilátoru reprezentovaného opticky levitující částicí. Metoda je založena na průměrování trajektorií s určitou počáteční pozicí ve fázovém prostoru sestávajícím z polohy a rychlosti částice a poskytuje informaci o parametrech oscilátoru přímo ze zaznamenaného pohybu. Náš inovativní postup je srovnán s běžně užívanou metodou založenou na analýze spektrální hustoty polohy částice a za využití numerických simulací ukazujeme její použitelnost i v nízkých tlacích, kde nelinearita hraje významnou roli.
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Chun, Sang Ja. "Homage to Everyday People." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2554.

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Influenced by an ever-growing sense of alienation with my homeland, I have been determined to discover through my art practice an ability to challenge conventional notions of home, identity, communication and miscommunication. Exploring these themes, I became increasingly aware of the parallels between everyday life and art practice. By creatively connecting with a diverse amount of local people and their communities, I fulfilled desires to discover a sense of belonging and generated opportunities for others to break through traditional social boundaries and roles.
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Rosinski, Milosz Paul. "Cinema of the self : a theory of cinematic selfhood & practices of neoliberal portraiture." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269409.

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This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.
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Proença, Paulo Jorge de Sousa. "Arte e terrorismo: meta-representações da Arte." Master's thesis, 2016. http://hdl.handle.net/10362/17276.

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Tendo como ponto de partida os estudos da performance para a análise do terrorismo, a presente dissertação teve como resultado a possibilidade de reflectir sobre tácticas de incorporação, reperformance e meta-teatro, três conceitos que permitem compreender de que forma a arte assimila e se compreende em relação com o terrorismo. Apresenta, por um lado, documentos oficiais que demonstram a existência de um conflito quanto à definição de terrorismo, reflectindo sobre “terrorismo de estado” e “contra-estado”. Por outro lado, a partir da análise dos Surveillence Camera Players e da performance Three Posters, ou de artistas como Hasan Elahy e Alyson Wyper, esta dissertação defende que a arte reperforma “táticas de representação” e realização mediática do terrorismo, nomeadamente, o teatro panóptico, a tortura como performance e os vídeo-testemunhos de mártires como retratos e vídeo-performances.
Taking performance studies as a starting point to terrorism analysis, the present dissertation considers the possibility of understanding about embodiment tactics, reperformance and meta-theatre, three concepts that result in an understanding of how art assimilates and is understood in relation to terrorism. On the one hand, this dissertation presents official documents that reveal the existence of a conflict regarding the definition of terrorism, reflecting about “terrorism of state” and “counter-state”. On the other hand, considering the analysis of Surveillence Camera Players and the performance Three Posters, or of artists such as Hasan Elahy and Alyson Wyper, this dissertation argues that art reperforms “representation tactics” and media realization of terrorism, in particular, the panoptic theatre, torture as performance and martyrs videotestimonies as portraits and video-performances.
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Ellis, Meighan. "Behold, be still : MFA thesis presented to the Faculty of Fine Arts, CoCA, Massey University, Wellington, New Zealand in partial fulfillment of the requirements for the degree of Master of Fine Arts." 2009. http://hdl.handle.net/10179/883.

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behold, be still illuminates my predilection, that of a portrait photographer, which is driven by a fascination with viewing and collecting the ‘other’, the male, now extending into this suite of still moving portraits. Through this act and in my art practice, I uncover the vulnerabilities, both for myself and for my subjects, as they are offered for scrutiny on screen to become ‘public’, unlike their previous position in my photographic archive, which is private. I reveal for the first time my pathology in the drive to collect surrogates and stand-ins, to console the loss and give solace for the absence of one- revealing a latent scopophilia. Photography histories, specifically portraiture, and the moving image are discussed, focusing on the binaries of the medium/s, their reflective and reflexive qualities, and their inherent ability to reveal and conceal. My visual inquiry is an expansion to experiencing the portrait by presenting the sitters as close to ‘themselves’ via the medium of high definition video portraits. I expel the implications of women looking at men, and review the work of both significant and historical feminine influences and contemporary women artists positioned and working in this territory and who employ both film and photography. I highlight Victorian women and the melancholic age, where photography is deeply embedded, tracing the origins and lineage to my current work. I seek to define and locate the notion of a beautiful masculine, investigating what it is to view, receive, and collect between the axis of photography and video via the intimate exchange and operatives of my gendered and privileged gaze. The success is determined by the tension between these two machines and resulting portraits, as the act in sitting for a portrait with the technology of today, renders a more ‘accurate’ portrayal. From this the moving portrait completes the desire and an opportunity to obtain and possess the beloved after their absence. Crucial issues become apparent as I examine the imprint of the real in the photograph, the camera as a surrogate for myself, and the passive yet consensual subject.
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Books on the topic "Video-Portrait"

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Peter, Gale, and Hopkins Gerard Manley 1844-1889, eds. Gerard Manley Hopkins: Portrait of a poet : video cassette and book. London: Picture PublishingCompany, 1989.

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Peter, Weibel, Falckenberg Harald 1943-, Shattuck Matthew, and Neue Galerie am Landesmuseum Joanneum, eds. Robert Wilson: Video portraits. Köln: W. König, 2011.

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Lafontaine, Marie-Jo. Marie-Jo Lafontaine: 9. Dezember 1990-27. Januar 1991, Städtische Galerie Göppingen. Göppingen: Die Galerie, 1990.

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Lafontaine, Marie-Jo. Marie-Jo Lafontaine. Saumur (Blou): Monografik, 2008.

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Lafontaine, Marie-Jo. Marie-Jo Lafontaine: Kinder der Ruhr. München: Storms, 2000.

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Lafontaine, Marie-Jo. Marie-Jo Lafontaine: Die Büchse der Pandora : Museum Schloss Hardenberg, Velbert : [Katalog erscheint anlässlich der Ausstellung ... 11. November-31. Dezember 1990. [Velbert]: Der Stadtdirektor, 1990.

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Lafontaine, Marie-Jo. Marie-Jo Lafontaine: Les larmes d'acier, 1987. Basel: Museum für Gegenwartskunst, 1988.

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Lafontaine, Marie-Jo. Marie-Jo Lafontaine: Liquid crystals. Ostfildern-Ruit: Hatje Cantz, 1999.

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Lafontaine, Marie-Jo. Marie-Jo Lafontaine. Ostfildern-Ruit: Cantz, 1999.

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Museum, Solomon R. Guggenheim, and Galleria Gottardo, eds. Family pictures: Fotografia contemporanea e video dalla collezione del Guggenheim Museum = contemporary photography and video from the collection of the Guggenheim Museum. Lugano, Switzerland: Galleria Gottardo, 2005.

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Book chapters on the topic "Video-Portrait"

1

Lin, Jinjiao, Yanze Zhao, Tianqi Gao, Chunfang Liu, and Haitao Pu. "Micro-video Learning Resource Portrait and Its Application." In Human Centered Computing, 302–7. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70626-5_32.

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Cheng, Shuangni, Miao Liu, and Wanjing Cao. "Personalized Video Recommendation Integrating User Portrait and Collaborative Filtering." In Lecture Notes in Networks and Systems, 543–50. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80091-8_64.

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Li, Han. "Optimizing Short Video Platform Based on User Portrait Theory——Take KuaiShou APP as an Example." In 2021 International Conference on Applications and Techniques in Cyber Intelligence, 180–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79200-8_25.

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Lavy-Flint, Orna. "A family self-portrait with a home-video camera." In Israeli Television, 149–60. Routledge, 2020. http://dx.doi.org/10.4324/9781003032960-13.

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Conomos, John. "The self-portrait and the film and video essay." In Imaging Identity. ANU Press, 2016. http://dx.doi.org/10.22459/ii.08.2016.04.

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Leruth, Michael F. "Sociological Art." In Fred Forest's Utopia. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036498.003.0002.

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Chapter 1 traces the early development of Forest’s artistic vocation beginning with his production as a self-taught painter while still working for the French postal service in Algeria and focuses on his work in the 1970s. It places particular emphasis on projects undertaken in the name of Sociological Art (defined as “sociological praxis in the guise of art”) using video, the press, and different modes of public intervention. Works discussed in Chapter 1 include Family Portrait (1967), Senior Citizen Video (1973), Electronic Investigation of Rue Guénégaud (1974), Video Portrait of a Collector in Real Time (1974), Biennial of the Year 2000 (1975), and The Video Family (1976). Chapter 1 also examines different categories of Forest’s diverse work in video and discusses the aesthetic and epistemological ramifications of Sociological Art as theorized by Forest and Vilém Flusser.
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"Spending time with (a) celebrity: Sam Taylor-Wood's video portrait of David Beckham: Catherine Fowler." In Framing Celebrity, 242–53. Routledge, 2012. http://dx.doi.org/10.4324/9780203715406-26.

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Agrawal, Ravi. "India’s iGen : Growing Up with Nomophobia." In India Connected. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190858650.003.0011.

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Sometime in the middle of May in 2017—at the height of summer in India—a grainy mobile phone video began to make its way across the country. The recording rocketed from phone to phone, first in the eastern state of Jharkhand and then nationally, circulating among groups on WhatsApp. The video was shot in portrait, showing a man beaten and bloodied, crumpled up on a patch of barren earth. His white undershirt was rolled up to his chest and drenched in blood. Encircling him was a small mob of men armed with cane sticks. Several appeared to be filming the proceedings on their phones. “You son of a bitch,” someone screamed. “Motherfucker! We’ll kill you!” A cacophony of abuse was under way. The man was pleading for his life, but his cries were drowned out by a rising tide of expletives and fury. The mob continued to beat the man. The video cut to black. The subject, Sheikh Haleem, was killed. He was only twenty-eight. Six others were killed as well, across two separate vigilante attacks. It was as if a cloud of rage had suddenly descended on a small part of Jharkhand, propelling village men to embark on extrajudicial murder sprees. It turned out that a rumor had spread that a group of strangers was abducting children from nearby villages. The rumor made its way onto WhatsApp; the rumor morphed into “news”; the news, circulating from phone to phone, villager to villager, was weaponized; a group of locals decided to act. The rest happened very quickly. A mob was formed. Strangers were produced, beaten up, and murdered. Justice was delivered. The recordings of the killings were duly sent back out into the ether of WhatsApp, completing the cycle of horror. Jharkhand’s police were befuddled. There had been no reported cases of child abductions. The rumor was completely unfounded. “Rumors have always flourished in India,” says Pratik Sinha, the founder of a myth-busting website, AltNews.in. “But it’s become exponentially dangerous because of the internet.”
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Steinheimer, Alan. "Refining portrait lighting and cross keying." In Shaping Light for Video in the Age of LEDs, 74–85. Routledge, 2020. http://dx.doi.org/10.4324/9781003010791-8.

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Conference papers on the topic "Video-Portrait"

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Li, Jiang, Heung-Yeung Shum, Keman Yu, Gang Chen, Yong Wang, Hanning Zhou, Jizheng Xu, King To Ng, Kaibo Wang, and Lijie Wang. "Portrait video phone." In the ninth ACM international conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/500141.500253.

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Fiss, Juliet, Aseem Agarwala, and Brian Curless. "Candid portrait selection from video." In the 2011 SIGGRAPH Asia Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2024156.2024162.

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Ma, Luming, and Zhigang Deng. "Real-time Face Video Swapping From A Single Portrait." In I3D '20: Symposium on Interactive 3D Graphics and Games. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3384382.3384519.

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Zeng, Anxiang, Han Yu, Xin Gao, Kairi Ou, Zhenchuan Huang, Peng Hou, Mingli Song, Jingshu Zhang, and Chunyan Miao. "An Online Intelligent Visual Interaction System." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/962.

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This paper proposes an Online Intelligent Visual Interactive System (OIVIS), which can be applied to various live video broadcast and short video scenes to provide an interactive user experience. In the live video broadcast, the anchor can issue various commands by using pre-defined gestures, and can trigger real-time background replacement to create an immersive atmosphere. To support such dynamic interactivity, we implemented algorithms including real-time gesture recognition and real-time video portrait segmentation, developed a deep network inference framework, and a real-time rendering framework AI Gender at the front end to create a complete set of visual interaction solutions for use in resource constrained mobile.
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