Bibliografías temáticas / Camerawork

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Literatura académica sobre el tema "Camerawork"

Autor: Grafiati
Publicado: 2 de julio de 2021
Última modificación: 15 de febrero de 2022

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Artículos de revistas sobre el tema "Camerawork"

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Kramer, Gary M. "Camerawork in Bamboleho". Short Film Studies 8, n.º 2 (1 de abril de 2018): 139–41. http://dx.doi.org/10.1386/sfs.8.2.139_1.

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Starns, Jessica. "The Camerawork Archive". Photography and Culture 6, n.º 3 (noviembre de 2013): 341–48. http://dx.doi.org/10.2752/175145213x13735390913368.

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Marso, Lori. "Camerawork as Motherwork". Theory & Event 24, n.º 3 (2021): 730–57. http://dx.doi.org/10.1353/tae.2021.0041.

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THAWONMAS, RUCK y KOHEI KATO. "CAMERA CONTROL FOR GENERATING COMICS FROM VIRTUAL MUSEUM VISITORS' EXPERIENCES". International Journal on Artificial Intelligence Tools 21, n.º 02 (abril de 2012): 1240008. http://dx.doi.org/10.1142/s0218213012400088.

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We present a camerawork module for representing events in a virtual museum with a comic style. The module uses four basic camera shots, i.e., internal, external, apex, and group, to compose a shot sequence of two main events happening in a museum, i.e., move and stay. This module is fully implemented in a comic generation system we have been developing for summarizing user experiences in Second Life. We also discuss a user evaluation that compares comics whose camerawork is decided by the presented module with those decided by a baseline module that simply uses the same camera parameters as those of the Second Life's viewer. User evaluation results as well as visual comparisons confirm the effectiveness of the proposed camerawork module.
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Ozeki, M., Y. Nakamura y Y. Ohta. "Automated camerawork for capturing desktop presentations". IEE Proceedings - Vision, Image, and Signal Processing 152, n.º 4 (2005): 437. http://dx.doi.org/10.1049/ip-vis:20045058.

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Kato, D., M. Yamada, K. Abe, A. Ishikawa, K. Ishiyama y M. Obata. "Analysis of the Camerawork of Broadcasting Cameramen". SMPTE Journal 106, n.º 2 (febrero de 1997): 108–16. http://dx.doi.org/10.5594/j15810.

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Madsen, David. "Childhood fears: The importance of horror elements in It Can Pass Through the Wall". Short Film Studies 7, n.º 2 (1 de octubre de 2017): 187–90. http://dx.doi.org/10.1386/sfs.7.2.187_1.

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This article will examine how the film uses horror tropes through its title, mise-enscène and camerawork to create a dichotomy between the cosy, ‘safe’ apartment and the dangers that manage to pass through its thick walls.
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Emura, Koichi, Terumasa Aoki y Hiroshi Yasuda. "Interactive Virtual Camerawork Control Based on Hidden Markov Model". Journal of The Institute of Image Information and Television Engineers 62, n.º 5 (2008): 743–54. http://dx.doi.org/10.3169/itej.62.743.

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Felando, Cynthia. "Breaking the rules of the game". Short Film Studies 9, n.º 2 (1 de abril de 2019): 157–60. http://dx.doi.org/10.1386/sfs.9.2.157_1.

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El Adiós is a sincere portrait of a dutiful servant as she tends to her deceased employer’s body and home for the last time, while enduring the routine class-based offenses delivered by her employer’s daughter. This article notes how camerawork and mise en scène emphasize the protagonist’s sensitive and ambiguous position.
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Giusti, Giulio L. "Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red". Acta Universitatis Sapientiae, Film and Media Studies 11, n.º 1 (1 de diciembre de 2015): 159–79. http://dx.doi.org/10.1515/ausfm-2015-0021.

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Abstract This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of elaborate camerawork and disjunctive music and sound. Specifically, this article seeks to complement these studies by arguing that such a stylistic and technical achievement in the film is also rendered by Argento’s use of a specific art-historical repertoire, which not only reiterates the Gesamtkunstwerk-like complexity of the director’s audiovisual spectacle, but also serves to transpose the film’s narrative over a metanarrative plane through pictorial techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American Hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I will demonstrate how and to what extent in the film Argento manages to break down the epistemological system of knowledge and to disrupt the reasonable order of traditional storytelling through the technique of the trompe-l’oeil in painting.
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Tesis sobre el tema "Camerawork"

1

Blazevic, Sasha y Carl Johan Kesten. "Editing within The Thriller Genre". Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-21915.

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Thriller är en favoritgenre för många och har funnits längre än de flesta tror. Ursprungligen som en litteraturgenre har den utvecklats till en av de mest eftertraktade genrerna inom film. Tidiga anmärkningsvärda verk som Alfred Hitchcocks filmer i mitten av 1900-talet har banat vägen för genren och utformat dess redigering och cinematografi till vad vi har idag. Trots sin ödmjuka början i mitten av 1900-talet lyckas teknikerna, även om dem är aningen repetitiva, fortfarande vara relevanta idag och har bara utvecklats med åren. I den här artikeln studerar vi grunderna inom thrillergenren, redigerings- och filmtekniker som används; kameraarbete, klippning, PoV och färgsättning. I denna studie är vårt huvudsakliga fokus att förstå varför dessa tekniker används. Utöver kommer vi också gå djupare in i thrillergenren i helhet och trots genrens repetitivitet, försöka förstå oss på varför den lyckas vara relevant idag och hur redigering och cinematografi spelar en stor roll för att förstärka känslorna i thrillers där dessa tendenser härrör från.
Thriller is a favourite genre to many and has been around for longer than most think. Originally starting as a genre of literature, it has evolved into one of the most sought after genres within film. Early notable works such as Alfred Hitchcock's films in the mid 1900s have paved the way for the genre and solidified it’s editing and cinematography into what we have today. Despite its humbling beginnings in the mid 1900s the techniques, although somewhat repetitive, still manage to stay relevant today and have only gotten more advanced with time. In this article, we study the fundamentals within the thriller genre, the editing and cinematography techniques that are utilized; camera framing, cutting, PoV and color. In this study our main focus we intend to work towards is understanding why these techniques are used and the tendencies in which they are facilitated. Although we also intend to go in depth into the thriller genre as a whole and despite the repetitiveness of the genre, why it manages to stay relevant today and how editing and cinematography plays a big part in amplifying the emotions and feelings associated within thrillers in which these tendencies stem from.
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Libros sobre el tema "Camerawork"

1

Ward, Peter. Multi-camera Camerawork. Oxford: Focal Press, 1997.

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Multi-camera Camerawork. Boston, USA: Focal Press, 1997.

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3

Basic Betacam camerawork. Oxford: Focal Press, 1994.

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1936-, Ward Peter, ed. Basic Betacam and DVCPRO camerawork. 2a ed. Oxford: Focal Press, 1998.

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5

Aguilera, Steven. A new perspective: A new and essential understanding of perspective applicable to : directing, camerawork, visual effects, set design and setting up shots. El Sobrante, Calif: Artistech Books, 2008.

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6

Burrows, Thomas D. Video production: Disciplines and techniques. 7a ed. Boston, Mass: McGraw-Hill, 1998.

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7

Divia, Patel, ed. Cinema India: The visual culture of Hindi film. New Brunswick, N.J: Rutgers University Press, 2002.

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Dwyer, Rachel. Cinema India: The visual culture of Hindi film. New Delhi: Oxford University Press, 2002.

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9

Dwyer, Rachel. Cinema India: The visual culture of Hindi film. London: Reaktion Books, 2002.

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10

David, Mullen M., ed. Cinematography: A guide for filmmakers and film teachers. 3a ed. New York: Simon & Schuster, 2005.

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Capítulos de libros sobre el tema "Camerawork"

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Hasse, Jürgen y Ute Hartjen. "CAMERAWORK AG". En Deutsche Standards Beispielhafte Geschäftsberichte, 88–91. Wiesbaden: Gabler Verlag, 2004. http://dx.doi.org/10.1007/978-3-322-99378-6_20.

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McBride, Joseph. "Camerawork". En Hawks on Hawks, 100–104. University Press of Kentucky, 2013. http://dx.doi.org/10.5810/kentucky/9780813142623.003.0018.

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"CAMERAWORK". En Capturing The Moment, 9–38. Routledge, 2014. http://dx.doi.org/10.4324/9781315735504-6.

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"CAMERAWORK". En Digital Video Camerawork, 110–23. Routledge, 2012. http://dx.doi.org/10.4324/9780080504575-9.

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"Camerawork". En Dramatic Effects with a Movie Camera. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781474285858.ch.001.

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"Multicamera camerawork". En Multiskilling for Television Production, 247–96. Routledge, 2000. http://dx.doi.org/10.4324/9780080512303-12.

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"Camerawork styles". En Basic Betacam Camerawork, 132–33. Routledge, 2013. http://dx.doi.org/10.4324/9780080493992-64.

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BROOKER, D. "Camerawork and Technicalities". En Essential CG Lighting Techniques with 3ds Max, 329–48. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-52117-6.50021-x.

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"Single-camera camerawork". En Multiskilling for Television Production, 297–317. Routledge, 2000. http://dx.doi.org/10.4324/9780080512303-13.

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"CAMERAWORK AND TECHNICALITIES". En Essential CG Lighting Techniques, 311–30. Routledge, 2012. http://dx.doi.org/10.4324/9780080505886-25.

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Actas de conferencias sobre el tema "Camerawork"

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Takemura, K., Y. Matsumoto y T. Ogasawara. "Estimation of group attention for automated camerawork". En 2008 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2008. http://dx.doi.org/10.1109/iros.2008.4651210.

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Ozeki, M., Y. Nakamura y Y. Ohta. "Camerawork for intelligent video production - capturing desktop manipulations". En IEEE International Conference on Multimedia and Expo, 2001. ICME 2001. IEEE, 2001. http://dx.doi.org/10.1109/icme.2001.1237650.

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Kumano, M., K. Uehara y Y. Ariki. "Online Training-Oriented Video Shooting Navigation System Based on Real-Time Camerawork Evaluation". En 2006 IEEE International Conference on Multimedia and Expo. IEEE, 2006. http://dx.doi.org/10.1109/icme.2006.262772.

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Shinoki, Yudai y Hironobu Fujiyoshi. "Method for generating videowith virtual camerawork using bi-directional object tracking between keyframes". En 2009 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2009. http://dx.doi.org/10.1109/icme.2009.5202707.

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Tsuji, Kenta y Ruck Thawonmas. "Evolution of camerawork in automatic comic generation using interactive genetic algorithm with feedbacks from the user model". En 2013 IEEE 2nd Global Conference on Consumer Electronics (GCCE). IEEE, 2013. http://dx.doi.org/10.1109/gcce.2013.6664863.

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