Дисертації: "Cinematography"

1

Dicker, Barnaby Thomas. "Cinematographic atavism, graphic proteanism : visibly frame-based cinematography : practice, history, theory." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529766.

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2

Dimoski, Vladimir. "Expanded Cinematography." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364700.

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Анотація:

Nahlížíme-li na profesi kameramana jakožto na určitou formu umění, pak toto umění dnes stojí na rozcestí. Kolem pojmu kameramanství je dnes určitá kontroverze, zejména v kontextu filmů, u kterých byla klasická kamera podřízena virtuálním technikám (např. Matrix, Life of Pi, Gravitace). Následující práce se zaobírá historickým vývojem kameramanských technik a jejím cílem je ověřit, zda je virtuální kinematografie krokem kupředu v evoluci práce kameramana. Ve snaze dobrat se co nejpravdivější odpovědi, rozhodl jsem se analyzovat práci kameramanů výše zmíněných celovečerních snímků ve smyslu spolupráce se supervizory vizuálních efektů a celým kreativním týmem. V této studii se snažím objasnit, jak tito kameramani použili nové techniky za účelem podpoření dramaturgie příběhu.

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3

Maddock, Daniel. "REFRAMING CINEMATOGRAPHY: Interpreting Cinematography in an Emerging Virtual Practice." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380997.

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Many of the current discussions around the practice of cinematography focus on the extension or disruption of the art form as it is increasingly practiced in the realm of the virtual. Since Avatar (Cameron 2009) won the Oscar for Best Cinematography at the Academy of Motion Picture Arts and Sciences Awards, a significant number of the nominated and winning live-action feature films in this category have been characterised by a heavy component of virtual images rather than images produced by a camera. Although cinema has a history that spans over a century, computer-generated imagery (CGI) has only been present in this form since the early 1990s. Moreover, CGI has only become substantial in many critics’ views as a disruption to the practice and singular authorship of cinematography since the release of Avatar (Cameron 2009), with films such as Life of Pi (Lee 2012) and Gravity (Cuarón 2013) seen as exemplifying this trend. The objective of this research is to investigate the current definition of cinematography and to interpret the practice of the contemporary art form. This process of investigation is driven by a self-reflexive analysis of my studio projects that have been challenged, shaped, and developed by the work and experience of other film practitioners—specifically, cinematographers and cinema theorists—whose ideas relate closely to the problem at hand. This written component of my doctoral research comprises a wide-ranging analysis of the history of cinematography, with a particular focus on the evolution of virtual image production. I achieve this by comparing and contrasting the work of early cinematographers with that of contemporary cinematographers. Following this, I make comparisons between current leading examples of virtual cinematography in the discipline. Traditional and ‘new’ virtual practices of cinematography are considered through the prism of concepts proposed by theorists such as Jean Baudrillard in the 1980s and Charles Peirce in the nineteenth century and specifically Stephen Prince’s own writings about Peirce’s ideas in the 1990s. Contemporary academic thinkers such as Scott McQuire, Stephen Prince, and Patrick Keating, among many others were also instrumental in constructing this thesis. I conclude the discussion with my application of the latest methodological virtual cinematographic processes to several of my projects where I fulfilled the role of cinematographer. Emerging from this research is a new and holistic understanding of the practice of cinematography and a contemporary definition of the art form. This research has shaped my own professional practice of cinematography by formulating a methodology of ‘cinematic verisimilitude’ which I apply to image-making for cinema with the camera and the computer.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Film School
Arts, Education and Law
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4

Sanokho, Cunka. "Data-driven virtual cinematography." Thesis, Rennes 1, 2016. http://www.theses.fr/2016REN1S010/document.

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Le contrôle automatique de caméra est un composant essentiel en cinématographie virtuelle à la fois pour la sélection des points de vue appropriés dans une scène 3D ou pour passer en revue efficacement le contenu d'un environnement 3D. Les applications de cinématographie virtuelle reposent sur des critères réalisme afin de provoquer un impact positif chez le spectateur. Dans cette thèse, nous présentons deux contributions. Tout d'abord, nous proposons une métrique permettant d'évaluer et de corriger l'équilibre visuel dans les images basée sur un large éventail de caractéristiques visuelles, dont la taille, la silhouette, la position et la saillance d'objets cibles, associés à des métriques liées aux positions et orientations des objets. Le procédé consiste à annoter des images bien équilibrées, pour estimer automatiquement la façon dont chaque caractéristique influence l'équilibre visuel dans chaque image. Nous proposons de créer une base de données d'images annotées de façon à (i) évaluer l'équilibre dans une nouvelle image en comparant ses caractéristiques visuelles à celles de la base de donnée, et (ii) d'optimiser automatiquement les points de vue dans une scène 3D de façon à recréer un équilibre visuel. Deuxièmement, nous présentons les Camera Motion Graph, une technique pour générer facilement et efficacement des séquences cinématographiques en temps réel dans des environnements 3D dynamiques. Un Camera Motion Graph est composé de (i) morceaux de trajectoires de caméra réelles exprimées dans le repère local d'une ou plusieurs cibles, (ii) de transitions continues entre les trajectoires des caméras et (iii) de transitions représentant des sauts directs d'une trajectoire à une autre. Les échantillons de trajectoires sont construits en extrayant des mouvements de caméra à partir de véritables films en utilisant des techniques de vision par ordinateur, ou par capture de mouvement en utilisant un système de caméra virtuelle. Une transformation est proposée afin d'exprimer les trajectoires des caméras dans une représentation normalisée. Le Camera Motion Graph est alors construit par échantillonnage de toutes les paires de trajectoires de caméras et le calcul des possibilités de transitions continues ou directes. Les résultats que nous présentons illustrent la simplicité de la technique, son adaptabilité à différents environnements 3D ainsi que son efficacité
Automated camera control techniques are key components of virtual cinematography systems by providing means to select appropriate viewpoints in a 3D scene and to efficiently review the content of a 3D environment. In this work we present two contributions. First, we propose an example-driven on-screen balance metric which estimates how well balanced is the composition of a shot. Our metric accounts for a large set of visual features including size, silhouette, position and saliency of target objects, together with metrics related to character’s positions, orientations and gaze. The process consists in annotating well balanced images, to estimate automatically how each visual feature influences balance in each image. We then rely on this database of annotated images to (i) estimate how well new images are balanced by comparing their visual features, and (ii) automatically optimize viewpoints in a 3D scene to enforce balance. Second, we present Camera Motion Graphs, a technique to easily and efficiently generate cinematographic sequences in real-time dynamic 3D environments. A camera motion graph consists of (i) pieces of original camera trajectories attached to one or multiple targets, (ii) generated continuous transitions between camera trajectories and (iii) transitions representing cuts between camera trajectories. Pieces of original camera trajectories are built by extracting camera motions from real movies using vision-based techniques, or relying on motion capture techniques using a virtual camera system. A transformation is proposed to recompute all the camera trajectories in a normalized representation, making camera paths easily adaptable to new 3D environments through a specific retargeting technique. The camera motion graph is then constructed by sampling all pairs of camera trajectories and evaluating the possibility and quality of continuous or cut transitions. Results illustrate the simplicity of the technique, its adaptability to different 3D environments and its efficiency

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5

Tomlinson, William Michael 1972. "Interactivity and emotion through cinematography." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/88315.

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6

Koval, Ju. "Dystopia as a cinematography direction." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/31122.

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Dystopia is a direction of the artistic literature and the cinematography direction, in narrow sense, it is a description of the totalitarian state, in wide sense, it is a description of any society, in which there are prevailed negative progress trends. Dystopia is a complete opposition of utopia. Utopia is a genre of the artistic literature, which is close to science fiction and describing a model of an ideal society from the author’s point. Unlike dystopia, it is characterize by the author’s faith in the blamelessness of a model. When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/31122

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7

Sun, Geng. "Perceived depth control in stereoscopic cinematography." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/3458/.

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Despite the recent explosion of interest in the stereoscopic 3D (S3D) technology, the ultimate prevailing of the S3D medium is still significantly hindered by adverse effects regarding the S3D viewing discomfort. This thesis attempts to improve the S3D viewing experience by investigating perceived depth control methods in stereoscopic cinematography on desktop 3D displays. The main contributions of this work are: (1) A new method was developed to carry out human factors studies on identifying the practical limits of the 3D Comfort Zone on a given 3D display. Our results suggest that it is necessary for cinematographers to identify the specific limits of 3D Comfort Zone on the target 3D display as different 3D systems have different ranges for the 3D Comfort Zone. (2) A new dynamic depth mapping approach was proposed to improve the depth perception in stereoscopic cinematography. The results of a human-based experiment confirmed its advantages in controlling the perceived depth in viewing 3D motion pictures over the existing depth mapping methods. (3) The practicability of employing the Depth of Field (DoF) blur technique in S3D was also investigated. Our results indicate that applying the DoF blur simulation on stereoscopic content may not improve the S3D viewing experience without the real time information about what the viewer is looking at. Finally, a basic guideline for stereoscopic cinematography was introduced to summarise the new findings of this thesis alongside several well-known key factors in 3D cinematography. It is our assumption that this guideline will be of particular interest not only to 3D filmmaking but also to 3D gaming, sports broadcasting, and TV production.

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8

Louarn, Amaury. "A topological approach to virtual cinematography." Thesis, Rennes 1, 2020. http://www.theses.fr/2020REN1S063.

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La recherche dans le domaine de la cinématographie virtuelle s'est essentiellement focalisée sur des aspects précis de la cinématographie mais n'ont pas adressé les nombreuses interdépendances entre les entités d'une scène. En effet, alors que la majorité des approches prennent en compte le fait que les caméras et lumières sont contraintes par les acteurs, elles oublient que les acteurs sont aussi contraints par les caméras et des lumières. Dans cette thèse, nous adressons ces interdépendances en modélisant les relations partagées par les entités et la topologie de l'environnement. Pour ce faire, nous proposons un langage permettant de décrire formellement une scène avec des contraintes de haut niveau qui représentent les relations des entités, auxquelles sont associés des opérateurs formels permettant d'appliquer ces contraintes géométriquement. Notre seconde contribution est un système de mise en scène cinématographique qui génère des configurations de mises en scène dans un environnement virtuel à partir d'une description écrite dans notre langage formel. Notre troisième contribution est un système de placement de caméras en temps réel générant des rails de caméras dans un environnement virtuel qui sont ensuite utilisés pour guider la caméra en temps réel
Research in the domain of virtual cinematography has mostly focused on specific aspects of cinematography but fail to take into account the interdependencies between all the entities in the scene. Indeed, while most approaches take into account the fact that the cameras and lights are constrained by the characters, most fail to acknowledge that the characters are also constrained by the cameras and lights. In this thesis we tackle these interdependencies by modeling the relations between the entities and the topology of the environment. To this end, we propose a language to be used to formally describe a scene thanks to high-level constraints that represent entity relations, to which are associated formal operators that can be used to enforce these constraints through geometry. Our second contribution is a cinematographic staging system that generates staging configurations in a virtual environment thanks to a description written in our formal language. Our third contribution is a real-time camera placement system that builds on a subset of our formal language and generates camera tracks in a virtual environment to be used to guide the camera in real-time

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9

Williams, Tomas Rhys. "Tricks of the light : a study of the cinematographic style of the émigré cinematographer Eugen Schüfftan." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3598.

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The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961). During the course of this thesis I shall examine the evolution of Schüfftan’s style, and demonstrate how Schüfftan has come to be misunderstood as a cinematographer of German Expressionism. The truth, as I will show, is far more complex. Schüfftan also struggled throughout his career to cope with the consequences of exile. In this thesis I will also therefore examine the conditions of exile for an émigré cinematographer, and in particular Schüfftan’s prevention from joining the American Society of Cinematographers. I intend to demonstrate how an understanding of cinematographic style can shed new light on a film, and to give renewed attention to an important cinematographer who has been largely ignored by film history.

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10

Galvane, Quentin. "Automatic Cinematography and Editing in Virtual Environments." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAM033/document.

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La libre diffusion de modèles 3D de qualité ainsi que la mise à disposition de nombreux moyens facilitant la création de contenus animés ont permis de populariser la production d'oeuvres cinématographiques 3D.A l'heure actuelle, on peut cependant observer un manque important d'outils permettant de traiter la cinématographie (placement des caméras pour l'enregistrement des plans) et d'effectuer le montage de tels contenus (sélection des plans et transitions entre caméras). La création d'un film nécessite la connaissance d'un grand nombre de règles et de conventions.La plupart des systèmes d'animation ne disposant pas de ces connaissances, le besoin de méthodes automatiques qui pourraient, au moins partiellement, assister l'utilisateur dans son entreprise créative, se fait de plus en plus ressentir. A travers cette thèse, nous abordons à la fois la gestion automatique de la cinématographie ainsi que le montage des plans générés.L'utilisation de caméras pour retranscrire les actions et événements se déroulant au sein d'un environnement dynamique est une préoccupation importante de beaucoup d'applications graphiques. Dans le contexte de la simulation de foule, nous présentons une nouvelle approche qui aborde le contrôle simultané de plusieurs caméras filmant un groupe de cibles. Nous proposons un système se reposant sur le modèle de "comportements guidées" développé par Reynolds. Celui-ci permet de contrôler et coordonner localement un ensemble de caméras évoluant dans un environnement afin de filmer les différents événements s'y déroulant.Le montage d'un film est une tache particulièrement complexe et méticuleuse qui nécessite de profondes connaissances du domaine. L'automatisation de cette tache requiert donc la formalisation de cette expertise. En utilisant la méthode de montage linéaire - ou "continuity editing" ; il s'agit de la technique de montage la plus utilisée - comme référence pour l'évaluation du montage, nous présentons une nouvelle approche au montage automatique d'animations 3D se reposant sur une méthode d'optimisation. En s'appuyant sur une hypothèse semi-Markovienne, notre méthode utilise la programmation dynamique afin de calculer efficacement les solutions.A partir de notre première contribution, nous proposons ensuite une nouvelle approche à la création de "replay" cinématiques qui utilise à la fois les informations narratives et géométriques extraites du jeu pour automatiquement calculer la trajectoire de la caméra. En combinant ce système avec notre framework de montage, notre solution génère rapidement les replay de sessions de jeu.Enfin, en prenant inspiration de pratiques couramment utilisées dans l'industrie du cinéma, nous proposons une nouvelle approche à la planification de mouvements de caméra. Notre solution assure le réalisme des trajectoires en contraignant les caméras sur des rails virtuels. La position et l'orientation de la caméra sont optimisées dans le temps le long du rail pour satisfaire différentes propriétés visuelles. Les plans générés sont ensuite envoyés à notre framework de montage qui génère alors la séquence cinématographique
The wide availability of high-resolution 3D models and the facility to create new geometrical and animated content, using low-cost input devices, open to many the possibility of becoming digital 3D storytellers. To date there is however a clear lack of accessible tools to easily create the cinematography (positioning and moving the cameras to create shots) and perform the editing of such stories (selecting appropriate cuts between the shots created by the cameras). Creating a movie requires the knowledge of a significant amount of empirical rules and established conventions. Most 3D animation packages do not encompass this expertise, calling the need for automatic approaches that would, at least partially, support users in their creative process. In this thesis we address both challenges of automating cinematography and editing in virtual environments.Using cameras to convey events and actions in dynamic environments is a major concern in many CG applications.In the context of crowd simulation, we present a novel approach to address the challenge of controlling multiple cameras tracking groups of targets. In this first contribution we propose a system that relies on Reynolds' model of steering behaviors to control and locally coordinate a collection of autonomous camera agents evolving in the dynamic 3D environments to shot multi-scale events.Editing a movie is a complex and tedious endeavor that requires a lot of expertise in the field. Therefore, automating the process calls for a formalization of this knowledge. Using continuity editing -- the predominant style of editing -- as a benchmark for evaluating edits, we introduce a novel optimization-based approach for automatically creating well-edited movies from a 3D animation. We propose an efficient solution through dynamic programming, by relying on a plausible semi-Markov assumption.Building upon our first contribution we then propose a novel importance-driven approach to cinematic replay that exploits both the narrative and geometric information in games to automatically compute camera paths. Combined with our editing framework, our solution generates coherent cinematic replays of game sessions.Finally, drawing inspiration from standard practices in the movie industry, we introduce a novel approach to camera path planning. This solution ensures realistic trajectories by constraining camera motion on a virtual rail. The camera position and orientation are optimized in time along the rail to best satisfy visual properties. The computed shots constitute relevant inputs for the editing framework which then generates compelling cinematographic content

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11

Kraguljac, Igor. "The implementation of chiaroscuro in photography and cinematography." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2371.

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12

Burgos, Barbosa da Silva Guilherme. "Black and White Cinematography in the Digital Era." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364699.

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Анотація:

I want to understand why B&W filmmaking is appearing as an artistic form in contemporary times, and how these films are being made technically. To explore the technology currently being used, I will create a test and examine results of the same scene filmed with RED color, RED bw, ARRI color, ARRI bw and Double X. I plan to analyze raw images for comparign first characteristics, then apply color grading to get final b&w results.

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13

Ami, Ali L. "LE CINEMA DE BANLIEUE : UN REGARD NOVATEUR ET AVENTUREUX SUR UN TERRITOIRE DIFFICILEMENT IDENTIFIABLE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563948399363779.

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14

Pappas, Michael A. "Experimental animation." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917014.

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The primary objective of this creative project was to explore and analyze the centuries old technique of animation. The investigation of the material included both text and also visual material such as existing films, videos and interviews.This body of work consisted of a variety of animation techniques combined into one film, a zoetrope with five hand-drawn strips and various forms of merchandise (stickers, bumper stickers and a t-shirt) based on the animation.The goal for this project was to convey the idea that animation is an unlimited field that is always open to new and exciting innovations. The author wanted to express the technique, rather than a plot or some concept to the viewer, with the intent that the viewer will be inspired to also experiment with animation.
Department of Art

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15

RIBEIRO, SONIA TELLES. "THE TRUTH ACCORDING TO BRESSON, IN NOTES ON CINEMATOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21853@1.

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Анотація:

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Nesta dissertação, analisamos os aforismos reunidos no livro Notes sur le cinématographe (1975), do diretor Robert Bresson, com o objetivo de delimitar seu conceito de verdade. No livro, Bresson opõe seu ideal do cinema como arte pura, o cinematógrafo, ao cinema contaminado pela estética teatral de representação. O primeiro alcança a expressão verdadeira por ser consistente com sua essência, seguindo os princípios dados nos aforismos. Como estes não são organizados por qualquer tipo de divisão no livro, agrupamo-os em temas e subtemas que discernimos a partir da recorrência de certas palavras. A dissertação concentrou-se nos seguintes temas e sua relação com a verdade: técnicas elípticas contra a representação; realidade e falsidade; a figura do diretor-artista; os modelos e o automatismo; composição e montagem. Essa análise reforçou as abordagens que aproximam Bresson das concepções fenomenológicas, pela fundamentação da verdade nas percepções imediatas, pré-reflexivas. Tais sensações devem corresponder à essência do objeto real percebido, e deixam de ser verdadeiras quando a cognição as submete ao sistema linguístico. A verdade não está nas proposições, mas na sensação momentânea da presença do objeto em meio ao desconhecido externo e interno ao sujeito. A câmera pode tornar a realidade oculta parcialmente visível, captando os indícios da sua essência. Nos filmes, a composição apresenta essa realidade nas repetidas conjunções entre o desconhecido, em diversas formas de elipses, e a materialidade intensificada das coisas.
In this dissertation, we analyzed the aphorisms collected in the book Notes on cinematography by film director Robert Bresson, to gain a more substantial understanding of his concept of truth. In the book, Bresson opposes his ideal of cinema as a pure art, or cinematography, to cinema contaminated by the representational esthetics of theater. The former attains truthful expression by remaining consistent with its essence, following the principles given in the aphorisms. Since these are not divided into any sections in the book, we grouped them by themes and subthemes discerned mainly through the recurrence of certain words. The dissertation focused on the following themes and their relation to truth: elliptical techniques against representation; reality and falsity; the figure of the director-artist; models and automatism; composition and editing. This analysis supported the views that link Bresson to phenomenological conceptions, given his grounding of truth in immediate, pre-reflexive perceptions. Such sensations must correspond to the essence of the perceived real object, and become untrue when cognition submits them to the linguistic system. Truth is not in propositions, but in the fleeting sensation of the perceived object amidst the unknown, which is both external to and inside the subject. The camera can make the hidden reality partly visible, capturing the glimmer of its essence. In his films, the composition presents this reality in repeated conjunctions between the unknown, in various forms of ellipses, and the intensified materiality of things.

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16

Albright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.

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17

Antonsen, Torben. "Sublime pixels : exploring the audience experience in digital special effects cinema : [a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Film] /." ResearchArchive@Victoria, 2009. http://hdl.handle.net/10063/1075.

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18

冼逸倫 and Yat-lun Marconi Sin. "Experimental studio of cinematography in Temple Street: An urban subtext." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31985427.

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19

Kerimoglu, Kagan. "Vittorio Storaro: How to maintain artistic style in digital cinematography." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392819.

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20

Sin, Yat-lun Marconi. "Experimental studio of cinematography in Temple Street : an urban subtext /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948222.

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21

Levatino, Michael Anthony Jr. "The Iron Curtain of Russian Film: Russian Cinematography 1917-1934." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/honors_theses/106.

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This thesis will study the separation between the three primary eras of Soviet cinema (Tsarist/Provisional Government-era, Bolshevik-era, and Stalinist-era) and how Soviet workers (both urban and rural) were affected by, reacted to, and associated with film propaganda. The thesis will attempt to establish a narrative that follows Soviet film from its early creation and nationalization in 1919 to the heavily oppressive Stalinist era. A variety of organizations, films, and individuals are studied to relate public perception to the use of film as propaganda. The thesis will also focus on the bourgeois film leaders that lead the film industry. Not only will Soviet leaders be studied, but the reaction of urban and rural workers to films will be considered. Soviet film strategy had goals of selling a collective Soviet identity to the urban and rural worker in the Soviet Union. There are similarities and differences between the urban and rural working Soviet, but both groups ultimately rejected the avant-garde style of Soviet film.

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22

Lord, Bruce Allan. "Time matching of separate cine camera views for three dimensional motion studies." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25144.

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The purpose of this study was to evaluate the importance of time-matching separate cine camera views in three-dimensional motion studies and to develop analytical methods to accomplish the time matching. An image space was calibrated using twenty-four control points and motion picture films at about 60 frames per second were taken of a moving bar, and of a subject putting a shot. Combinations of correctly and incorrectly matched views were compared for their accuracy in determining the positions of six object points. An algorithm was derived which included the timing variable in the least squares solution for the X, Y, and Z coordinates. These "best fit" solutions for the timing and for the coordinate locations were compared with criterion values. Alterations in the timing of views tended to introduce a bias into the coordinate locations. The magnitude of the bias was a function of the velocity of the object points and of the camera positioning. To keep final coordinate errors below 5% required the two views to be matched to within 0.008 seconds. The time matching algorithm was able to match the views to within 0.005 seconds. The corresponding coordinates could vary by an average of 2.4% from the correct ones. It was concluded that the analytical time matching algorithm could produce acceptable results if extreme accuracy was not required.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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23

Safuoglu, Hikmet. "Within normal limits /." Online version of thesis, 1991. http://hdl.handle.net/1850/11610.

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24

NOVAES, ALINE DA SILVA. "JOÃO DO RIOS CINEMATOGRAPHIES: THE CHRONICLE-REPORT AND THE LETTER CINEMATOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15147@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Esta dissertação volta-se para o estudo da coluna Cinematographo, publicada semanalmente de 11 de agosto de 1907 a 19 de dezembro de 1910 na Gazeta de Notícias, e do livro homônimo (1909), produções de Paulo Barreto. Tendo em vista que o livro não é simplesmente a reunião de textos publicados na coluna, como parece ser em um primeiro momento, a pesquisa deseja refletir sobre a não inserção de tais colunas no livro homônimo. Uma tentativa de compreensão e, sobretudo, averiguação da questão do suporte que se torna marca da diferença do que o escritor acredita ser jornal e do que pretende seja arte. Neste sentido, revela-se uma concepção de livro que transcende a matéria meramente jornalística e a cultura de massa, pois, com a mudança de suporte, as crônicas escolhidas se afastam da efemeridade dos jornais e se tornam arte. Acredita-se que, desta forma, além de analisar as representações da capital federal na coluna durante uma época de grandes transformações, será possível estudar a organização do volume Cinematographo e suas relações com as crônicas publicadas no jornal, para também verificar que a mudança de suporte material – do jornal para o livro – altera os seus significados. Trata-se, assim, de compreender uma cinematografia das letras.
This paper focuses on the study of the column Cinematographo, published weekly from August 11, 1907 until December 19, 1910 in Gazeta de Notícias, and its homonym book (1909), both Paulo Barreto’s publications. Considering that the book is not just a collection of published columns in the newspaper, what may seem the case at first, this work wants to reflect about the non-inclusion of such columns in his book. This paper pretends to comprehend and, moreover, investigate the presence of the kind of media, which becomes a mark of the difference between what the author considers to be newspaper work and what he believes to be art. This way, his book reveals a conception that transcends the journalistic field and the mass culture: by changing the media used, he manages to transform the chosen chronicles from the newspaper frailty to art. Besides analyzing the representations of the Federal District in João do Rio’s columns during an era of great changes, it will be possible to study the Cinematographo’s organization and its relation to the published chronicles in the newspaper. Also, it may be possible to verify that the change of media – from the newspaper to the book – modifies their meaning. It is, therefore, an effort in order to understand the letter cinematography.

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25

Nevill, Alexander. "In light of moving images : technology, creativity and lighting in cinematography." Thesis, University of the West of England, Bristol, 2018. http://eprints.uwe.ac.uk/35477/.

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Thesis This practice-led doctoral research examines lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. The widespread adoption of digital technologies in the film production industry has received a good deal of critical attention from practitioners and scholars alike, however little specific consideration about changing lighting practices can be found amongst this discourse. The control and orchestration of lighting have significant aesthetic connotations for moving image work, so it is surprising that this practice remains an under-explored area in the digital age. Informed by a series of research-driven experimental installations and collaborative cinematography work on independent films, presented in a separate portfolio, this thesis offers an understanding of how light is orchestrated during the production of moving imagery through direct creative inquiry. The contribution to knowledge made through this doctoral research is distilled into three areas. First, understanding lighting in moving image production through a relational, new-materialist perspective which foregrounds the flow and energy of light as a generative force and a cultural and creative process. Second, providing a more detailed first-hand investigation into lighting processes than is currently available that uses autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. Third, offering a new approach to the relationship between a cinematographer and his/her equipment by applying the actor-network theory framework to the consideration of moving image, and explicitly lighting technologies. The new-materialist perspective outlined in this thesis provides a strong foundation for further studies of lighting in emerging forms of moving image production because of its emphasis on process and a practitioner’s correspondence with light. This theoretical framework offers an effective way to understand and analyse creative lighting work across changing technologies, while the insight into practical processes captured during this enquiry can be employed directly in cinematography education. Portfolio Developed between 2014-2017 as part of a doctoral research enquiry, In Light of Moving Images brought together a series of film and video works by cinematographer and filmmaker Alexander Nevill. The exhibition included five research-driven moving image installations as well as three single screen short films created collaboratively in the role of Director of Photography. Although varied in form and production context, these works all investigate cultural and creative orchestrations of light on screen. Providing visual documentation, this publication serves as a record of the exhibition and, moreover, offers an account of the practice-led research journey through which it emerged. The following pages incorporate written contextual insights about each practical work, describe the timeline of and rationale behind them and also include a variety of supplementary artefacts such as sketches, lighting diagrams and photographs of the work in progress to reveal creative processes. Traditionally considered the responsibility of a cinematographer, lighting in a filmmaking context refers to the arrangement of illumination sources around a location or set to create a specific aesthetic. Expanding this term, lighting can also refer to creative control over the passages of illumination which constitute moving imagery, shaping ways that audiences perceive the frame. Selected amongst a larger body of cinematography and moving image experimentation, the work in this portfolio and exhibition engages with both facets of lighting, taking the form of spatial projections that weave together light in and of moving imagery while questioning the material tensions of mediated illumination.

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Nathan, Bhat. "Establishing and Evaluating Cinematography Principles in a Third Person Computer Game." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-276940.

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As the computer game industry continues to develop, there is a growing demand for games to look as aesthetically pleasing as possible. Because of this, use of cinematographic principles in computer games has become commonplace. This study aims to evaluate and compare cinematography principles regarding framing, distance from the player avatar, and moving the camera when the player avatar is obstructing the view on screen in a third person computer game. Important cinematographic principles were chosen for comparison based on previous research and suggestions by professional game developers. A qualitative user study was performed, where seven expert level participants tested, compared and discussed different camera methods that fulfilled different cinematographic principles in a test scenario. Findings showed that there was a preference towards framing that gave more focus to the surrounding scene rather than the player avatar, that using classic cinematography principles may make the player avatar appear too close, that an ellipsoidal camera orbit may give a stronger sense of stability than a spherical camera orbit, and that players prefer to be able to frame the camera manually to suit them rather than an automatic solution.
Med datorspelsbranchens fortsatta utveckling följer en växande efterfrågan för spel att se så estetiskt tilltalande ut som möjligt. I detta syfte har bruk av cinematografiska principer inom datorspel blivit vanligt. Den här studien ämnar utvärdera och jämföra cinematografiska principer i förhållande till komposition, avstånd till spelarens avatar, och förflyttning av kameran när spelarkaraktären skymmer vyn i datorspel med tredjepersonsperspektiv. Viktiga cinematografiska principer att jämföra valdes utifrån tidigare forskning på området och förslag från yrkesprofessionella spelutvecklare. En kvalitativ användarstudie genomfördes, där sju deltagare på expertnivå testade, jämförde och diskuterade olika kamerametoder som uppfyllde olika cinematografiska principer i ett testscenario. Studien fann att det förekom en preferens för kompositioner som gav mer fokus åt omgivningen än spelaravataren, att bruk av klassiska cinematografiska principer kan resultera i att spelaravataren upplevs för nära, att en ellipsoidisk kamerabana kan ge en högre känsla av stabilitet än en sfärisk kamerabana, och att spelare föredrar att kunna styra kamerans komposition manuellt framför en automatisk lösning

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Stefania, Silvia. "From Italian American Icon to Working Class Hero| Perspectives on Pietro di Donato's "Christ in Concrete"." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261046.

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Starting from a close analysis of Christ in Concrete by Italian American author Pietro di Donato, my thesis focuses primarily on di Donato’s perspective on the main character of his story, Geremio and on Edward Dmytry’s interpretation of the latter in his 1949 filmic adaptation of the novel. My aim is to demonstrate how di Donato’s personal involvement in the story makes the character of Geremio an Italian American literary icon, while Dmytryk’s interest with the political meaning of the story transforms the main character into a working class hero. After an analysis mainly focused on a male character, author and director, the last part of my thesis will instead be devoted to two Italian American literary figures, Pietro di Donato’s Annunziata and Helen Barolini’s Umbertina, in order to examine the Italian American experience through the female lens.

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Reid, Imogen A. "Cinematic writing : thinking between the viewer and the screen." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8751/.

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This practice-based research project explores modes of thinking and writing that are generated during and after my encounter with one film, Christopher Petit’s Unrequited Love: On Stalking And Being Stalked (2006). As opposed to a frame by frame analysis of film, this project explores how the anomalous affects and after-effects engendered by film, for example, the disorientations in time and memory produced by camera movement, might generate forms of ‘cinematic writing’. This project approaches these affects as an integral part of the film viewing experience, and asks how they alter the way we think, feel, see, remember, and write. What connections in thought and memory can be provoked and engendered by them? How can our experience of being captivated, disoriented, and absorbed by these filmic affects be enveloped by, rather then represented in, writing? With the aim of developing a practice-based written response to these questions, this project investigates the visual and text-based cinematic techniques used by three writers: William S. Burroughs, Don DeLillo, and Alain Robbe-Grillet. It establishes how cinema has impacted on and been used as a resource to alter and transform their writing practice. The central claim of my project is that the visual and text-based cinematic techniques used by these writers make a valuable contribution to the development of a practice-based mode of writing that is engaged with, but that is not representative of film. I call this mode of writing cinematic writing. This research project claims that a theoretical and practice-based investigation into the anomalous affects and after-effects generated by film could contribute to our knowledge of how film can alter and transform the way we think, see, feel, and write. It explores what cinematic writing does in being read/seen by a reader, and asks how cinematic techniques in writing could impact on and alter our conventional literary reading habits.

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Pu, Ruonan. "Target-sensitive video segmentation for seamless video composition /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?CSED%202007%20PU.

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Shoemaker, Jennifer Anne. "Networked empowerment the internet as medium for environmental filmmaking /." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/shoemaker/ShoemakerJ1207.pdf.

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Perez, Abraham B. "Film d'Art and Saint-Saens| Pioneers in creating art through silent film and music." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1572846.

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Film d'Art, the French production company responsible for the development of Henri Lavédan's L'Assassinat du Duc de Guise (1908), demonstrated a forward-thinking vision for film and music. Through their innovations, the company combined many elements of cinematography with new standards for quality productions. This project report will investigate the goals of Film d'Art and its unusually high ambitions, standard music practices in the silent film era, the issues revolving around the instrumentation to Saint-Saëns' score to Henri Lavédan's L'Assassinat de Duc de Guise (1908), and the performance of my arrangement in a graduate recital.

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Miller, Christopher Lee. "The illustrated dark| Cinema, soul, and shadows." Thesis, Pacifica Graduate Institute, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3629482.

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The historical co-arising of cinema and depth psychology at the end of the nineteenth century has received little attention in academic discourse. While the psychoanalytic theory of Freud has been applied both to the analysis of cinema as technological apparatus and to the interpretation of individual films, the analytical psychology of Jung also has been applied to cinema and depth psychology as phenomena which emerged in response to specific historical considerations. Two such considerations associated with modernity are the decline of spiritual or religious meaning in the lives of individuals and the related alienation of individuals and societies from nature.

This theoretical dissertation explores several ways in which cinema and depth psychology reconnect individuals and collectives with a meaningful embodied existence. In the process the dissertation argues that a metaphorical return to Plato's allegorical cave is underway. If Plato's cave signifies a state of unconsciousness which individuals must leave for enlightenment, then the cinema-as-cave and therapist's office-as-cave facilitate a return to and re-experiencing of the energies of the unconscious. In addition to the more Platonic and post-Enlightenment light of reason, such re-experiencing relies on what alchemists refer to as the lumen naturae, or light of nature, and sensus naturae, or sense of nature.

Amplification of several images from Werner Herzog's Cave of Forgotten Dreams and Martin Scorsese's Hugo reveals a psycho-historical continuum along which ancient cave paintings and modern cinema are positioned on either side of Plato's cave. The emphasis placed on symbols, images, and metaphorical processes by Jungian and Post-Jungian film theorists demonstrates that cinema affords a reconnection to levels of the psyche more commonly and collectively experienced in antiquity. In this way, films operate as individual and collective dreams and thereby connect the cinematic dreamer to a source of wisdom different from that which dominates waking consciousness. The dissertation refers to this often spiritual or religious reconnection to different levels of the psyche as deep realism.

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Lu, Tianyi. "Film language: use of film language in narrative cinema." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13064.

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Film language is a method of narrative expression, which promotes the development of narrative and plot. Film languages are very important methods in filmmaking, when used properly they make a film successful. In this thesis, I explore three film languages – camera shots, moving cinematography, lighting and colour. They are all important methods that promote and express the film narrative. Filmmakers use these film languages, to give a film aesthetic value. I consider how filmmakers use film language to express the narrative of their films, based on film theories exploring the similarities and differences between two films and analysing six different films by different filmmakers in total. They include – TomTykwer’s Run Lola Run, Danny Boyle’s Slumdog Millionaire, Baz Luhrmann’s Australia, Doze Niu’s Love, Wong Kar-wai’s In the Mood for Love, and Peter Chan‘s Comrades: Almost a Love Story. My research shows that film languages are very important to filmmakers. When used properly, filmmakers make their audiences feel unexpected aesthetic enjoyment. Film languages are used to effectively promote or express the film narrative, which would otherwise be lost. As a filmmaker myself, this research has helped me to figure out film shooting and editing aspects in my own film projects.

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Templin, Krzysztof [Verfasser], and Hans-Peter [Akademischer Betreuer] Seidel. "Depth, shading, and stylization in stereoscopic cinematography / Krzysztof Templin. Betreuer: Hans-Peter Seidel." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2016. http://d-nb.info/1093342951/34.

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Martin, Ryan. "A Practical Study of the Role of the Cinematographer." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/227.

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The following thesis describes the development and process of the responsibilities and skills necessary for a director of photography in the motion picture industry. Pre-production and production aspects pertaining to experiences as a cinematographer are covered. Furthermore, the progression of learning about the field of cinematography is explained through personal examples of logistical, technical, and artistic requirements on both short and feature student films. Storyboards are included in the appendices.

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Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.

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37

Somazzi, Giacomo. "The Cinematography of Luca Bigazzi: An Analysis of his Camera work and Lighting style." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392830.

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Diplomová práce ze zabývá tvorbou Lucy Bigazziho, jednoho z nejdůležitějších současných italských kameramanů. Analýza jeho filmů ukazuje, jakým způsobem svými úvahami o kinematografii a jedinečným vizuálním stylem ovlivnil spolupracovníky, i italský film v posledních 30 letech.

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Pyanzina, Elizaveta Anatolyevna 1981. "Representation of the Peoples of the Caucasus in 20th Century Russian Literature and Cinematography." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11489.

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ix, 67 p.
For centuries, Russian writers have stressed the important role the Caucasus played in the Russian Empire. In the last few decades, much attention has been directed at the Caucasians in literary works and movies as a result of the two Chechen wars. This thesis addresses the evolution of the Caucasian theme in Russian literature beginning from the 18th century with a focus on the contemporary representation of the peoples of Caucasus, mainly Chechens, in three works: a Soviet-era movie by Leonid Gaidai, Kidnapping, Caucasian Style (1966); Vladimir Makanin's story, Captive of the Caucasus (1994) and Viktor Pelevin's story, Papakhi na bashniakh (1995). The central research question is to what degree contemporary authors have transformed the image of the Caucasians compared to the Romantic period. Of particular interest is the issue of Russia's self-representation in these works.
Committee in charge: Dr. Susanna Soojung Lim, Chairperson; Dr. Katya Hokanson, Member

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39

Trinh, Ellen Man Ngoc. "Cine-animé: adaptations of realistic lighting styles." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2644.

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Animé, a style of Japanese animation, has begun to evolve into more than a simple animation. The stories found in animé have reached a level of complexity similar to traditional cinema. However, lighting in animé, has been minimal. Using computers to create animé, rather than creating it traditionally by hand, has allowed greater opportunities to be creative with lighting. Color and computer-generated (CG) effects can be integrated with traditional line drawings to create beautiful images in animé. Since cinematic lighting exhibits some of the finest examples of lighting, this thesis will analyze lighting styles from three different cinematographers and adapt them to three anim??e style scenes in 3D. The scenes will be modeled, lit, and rendered using Alias/Wavefront MAYATM, and textured using Adobe PhotoshopTM. The result will be a visual CG piece that adapts the lighting style of certain distinctive cinematographers, while retaining the look of animé.

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40

Cotrupe, Jacqueline M. "The moving image /." Online version of thesis, 1988. http://hdl.handle.net/1850/11506.

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41

Noiman, Jay Victor. "The joker is wild /." Online version of thesis, 1987. http://hdl.handle.net/1850/8822.

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42

Pelletier, Louise 1963. "L'espace métaphorique du montage cinématographique : vers un nouveau rituel architectural." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59845.

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Architectural representation is much more than a process of transcription between a concept and the building; it is a tool that determines the very mentality and praxis of the architect. This thesis studies the technique of film montage through the work of Andrei Tarkovsky and the possibilities it offers to the process of architectural conception. A general outline of the development of the perspective tools of representation in architecture lead to an understanding of the significance of the cinematographic image in the context of the history of projection. Montage in the tradition of Surrealism placed an emphasis on the potential power of poetic evocation between its elements. Comparing the narrative forms of three film-makers, the "surrealist montage" of Luis Bunuel, the "intellectual montage" of Sergie Eisenstein, and the temporal modulation in the films of Tarkovsky, this thesis examines different ways to qualify cinematographic space which affect the spatial and temporal experience of the spectator and offer the possibility of a redefinition of ritual in architecture.

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Mak, Monica. "Digital cinematic technology and the democratization of independent cinema." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.

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This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.

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Caille, Antoine Constantin. "Lecture, ecriture et virtuel| Approche theorique et casuistique de la textualite." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712148.

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This dissertation problematizes the notion of textuality. Textuality is a virtual object, which each text production actualizes.

The problem can be formulated as follows: How can one read textuality through one or several text(s)? How can one perceive more than a simple fixed object and appreciate problems that a writer encounters during the process of writing, when the text was still being elaborated, in a battle with virtualities?

Starting from recent statements of Todorov on how non-fictional texts can be considered as literature, I examine the development of the concept of literarity from the 1960’s in France. I examine three conceptions of the text: as a structure that highlights its own materiality (with Ricardou); as a production undermining the structuralist dichotomy between signifier and signified (with Barthes); as an artwork (with Ricoeur, and Genette).

Henceforth, I articulate four theoretical problems, giving access to the following conclusions: - Texture is readable in a different way than the search for a meaning. - The world as a text and the world of the text entail two distinct conceptions; texts built as mirrors of themselves change and improve our understanding of textuality. - Reading should not be conceived as totally predetermined by writing and by the author’s mastership. - Reading can be conceived as a virtualization (and not just an actualization) of the text. Virtualization is a “rise” from an actuality (such text) towards the problematic field where it emerged.

Those conclusions are supported by comparative studies and analyses of specific works: Mallarmé’s poems and especially Un coup de dés…, the relationship between some of his works and Edgar Allan Poe’s, Godard’s filmography as opposed to Bresson’s, Ponge’s poems in comparison with an poetical essay by Le Clézio, a play by Sarraute in the light of a text co-authored by Derrida and Leiris.

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45

Hunt, Mark Alan. "Los Angeles' 1981 bicentennial installation, "The City of Our Lady Queen of the Angels" inspires digitally filmed ritual choreography." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10244013.

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This interdisciplinary thesis begins with a 1981 birthday gift of art, music, photography, and words presented to the citizenry of Los Angeles for their bicentennial titled The City of Our Lady Queen of the Angels. The installation was created by Anthony Duquette and Angelino artisans and depicted a court of giant Archangels presided over by their queen, the patron angel of the city. The installation was accompanied by a poem written for Los Angeles by Ray Bradbury, set to music by Garth Hudson, and preserved through photography by James Chen. I reconstruct the fragments of Bradbury's poem and prepare them as spell for transportation as a Los Angeles specific ritual performance. I document and then use the installation and poem as the inspiration for my own reinterpretation of the 1981 work through music, words and choreography titled A Dance in the Green Garden of the Queen of the Angels. My oral interpretation of the poem defines its structure, and composer David Johnson creates a score for the work, which I perform and record with instrumental quartet. I choreograph, cast, and costume the resulting Queen of the Angels Sonata as a ritual dance, and the piece is performed at CSULA’s International Day of Dance Concert, 2016. I then create a film production team to digitally record and edit the entire dance concert as a feature length film, and its seven individual dances as short film excerpts, that are distributed globally on YouTube.

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46

Timmerman, Jo Anna. "Character animation with a computer /." Online version of thesis, 1989. http://hdl.handle.net/1850/11297.

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47

Rollins, Donna Lee. "Imagination makes things perfect /." Online version of thesis, 1990. http://hdl.handle.net/1850/11640.

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JUNIOR, JOAO ALVES DOS REIS. "THE SHINING IMAGES BOOK: JONATHAS SERRANO AND THE GENESIS OF EDUCATIONAL CINEMATOGRAPHY BRASIL 1889-1937." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11699@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O trabalho dedica-se à determinação e ao estudo da gênese da cinematografia educativa no Brasil, no Rio de Janeiro, entre 1889 e 1937, colocando em relevo as contribuições feitas pelo professor Jonathas Serrano a este processo. Contribuições da Educação, Comunicação e História foram aportadas durante a realização da pesquisa, tendo como principal substrato teórico o conceito de apropriação, tomado de empréstimo à obra de Michel de Certeau. Do ponto de vista teórico-metodológico os resultados relatados apontam para a emergência de um novo objeto de estudos em ciências humanas e sociais, especificado como história das formulações e práticas educacionais resultantes das interações entre comunicação e educação. Com a investigação empreendida foi possível afirmar a ocorrência de práticas educacionais envolvendo tecnologias da comunicação, presentes na cidade do Rio de Janeiro já nas três primeiras décadas do século XX; identificar e descrever a metodologia destas práticas em sala de aula e definir os contornos do conceito de cinematografia educativa, da maneira como foi formulado e praticado no período em estudo. A cinematografia educativa não se limitou ao uso didático do filme, abrangendo uma grande diversidade de tecnologias e processos da comunicação disponíveis então, inclusive com a realização de produtos sob a coordenação de professores e alunos da rede pública de instrução escolar.
This work is dedicated to the study of educational cinematography in Brazil, in Rio de Janeiro, between 1889 and 1937, highlighting the participation of the professor Jonathas Serrano in this particular process. Contributions from Education, Communication and History were used during the process of this research, which has as its main theoretical reference the concept of appropriation, taken from Michel de Certeau's work. From the methodological and theoretical point of view, the presented results suggest the emergency of a new study object in human and social sciences, that can be understood as the history of formulation and education practices that are the result of the interaction between education and communication. With this investigation, one could see that even in the 19th century in Brazil there were educational practices using technology of communication, taking place in the city of Rio de Janeiro since the first three decades of the 20th century as well as identify and describe the methodology of these practices in classroom, defining the concepts of educational cinematography, in the way it was formulated and used in the period of this study. The educational cinematography not only used films with pedagogical goals, but also used a variety of technologies and communication processes available in that time, includding the realization of products under the coordination of teachers and students from public schools.

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Nelson, K. E. "A compilation of information about the life of Robert Kates Bonine, 1862-1923 : with an examination of his early years in photography and film /." Online version of thesis, 1989. http://hdl.handle.net/1850/11373.

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Nguyen, Alan Duc Khoi. "Utilising Principles of Cinematography to Communicate Anti-Violence and Anti-Vengeance Themes in a Revenge Film." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/375769.

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In this exegesis I discuss the context, rationale and methods involved in the development and production of Firebird (2016), a film created as the studio component of my Doctor of Visual Arts degree. The film, along with this exegesis, serves to address the research question: How can anti-violence and anti-vengeance themes be communicated through images in a revenge film? Revenge films often gain audience sympathy for the protagonist through the presentation of an initial wrongdoing or harm, which gives licence for viewers to enjoy the portrayal of violent acts that the protagonist subsequently enacts on his/her revenge-targets. As a filmmaker and film researcher, I have a particular interest in revenge films that provide a more critical approach to the portrayal of vengeance and violence. For the purposes of this exegesis, the terms ‘anti-vengeance’ and ‘anti-violence’ will be used to describe films, or aspects of films, that portray violent vengeance in a disapproving, non-approving, or ambivalent manner. The main contributions of this creative-art and research project are as follows. First, it provides a relatively rare example of a revenge film made with the conscious intention of communicating anti-violence and anti-vengeance themes. Second, it documents my experiences: the challenges I faced, my decision-making processes, and the techniques I adopted, all of which may be of some interest to other filmmakers. Third, it provides a systematic analysis of cinematic image techniques used in a number of contemporary revenge films to support either anti- or pro-vengeance sentiments. The actual process of making this film involved eclectic, iterative and fluid combinations of hands-on experimentation, reflection-in-action, and insights gleaned from the study of previous film works. A distinctive aspect of Firebird is the gradual evolution in its portrayal of the revenge-target, who is also the lead antagonist. Initially, this character is depicted as mysterious, powerful and menacing, but as the film progresses, it allows the audience to see him in a far more humanistic and sympathetic light, thereby undermining the notion of justified vengeance. This nuanced treatment contrasts with the way many revenge films portray targets of revenge as outright villains, with few redeeming qualities. While revenge films that feature anti-vengeance themes generally avoid such damning depictions, they generally present a static, rather than evolving, view of these characters. In this context, the ‘gradual improvement in understanding’ approach employed in Firebird is an innovation within the field of revenge films. To implement this approach, initial shots of the antagonist were taken from low-angle placements that showed little of his face but suggested a dominating presence. Subsequent images of him included more humanistic aspects (e.g., warm-toned lighting cast on his face) and were further enhanced through post-production (e.g., selective brightening and resizing of shots to provide greater intimacy). The antagonist’s perspective was explored, not only through dialogue but also through flashback imagery, which often contrasted in form from surrounding images. The film also showed the antagonist as suffering from the negative psychological consequences of his own violent acts. In one particular scene, where he expresses a deep sense of guilt, blacks were used to isolate the figure, top-lighting was used to support the notion of psychological anguish, while green-gels on lighting were used to give a cold, uncomfortable atmosphere. During the course of the film, the protagonist-revenger moves from a state of relatively good health, self-confidence and certainty of purpose to one of wavering resolve and physical frailty. Initially, as he speaks of his plan for revenge, the camera travels towards him, adding to the power of this moment and supporting a sense of his emotional resolve. As the film progresses, images begin to depict an emotional state of turmoil and indecision, including a close-up shot of a hand poised half-way between his bed and a weapon. Selective colour-grading was designed to depict him with warmer flesh tones early in the film and progress to colder tones in later scenes, to depict the deterioration in his physical health, but also to visually support the internal shift in the character. The ending of the film is decidedly not a triumphant one. A sense of tragedy is conveyed not only through the death of the protagonist, but also through the notion that he is killed by his own quarry, who by that time has shown remorse for past acts of violence. An image of the dying protagonist is shown from what might be the antagonist’s point-of-view, followed by a lingering close-up of the latter’s horrified and grief-filled expression. As for the depiction of moments of violent action, the film tends to focus on showing the effects of violence on the victim, rather than direct visual capture of the violent act itself. The effects are depicted through close-ups of the victim’s face. In this film, the pursuit of revenge is shown as escalating conflict and perpetuating cycles of violence and retaliation, with no apparent satisfaction or redeeming benefits for anyone involved.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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