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Film hates video. Video hates film. Film loves ...
23,99 € *
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Magisterarbeit aus dem Jahr 2010 im Fachbereich Filmwissenschaft, Note: 1.3, Friedrich-Schiller-Universität Jena, Sprache: Deutsch, Abstract: Die Arbeit setzt sich auf den drei wichtigsten Ebenen der Filmanalyse mit einem in der deutschen Film- und Medienwissenschaft noch weitgehend unberührten Medienprodukt auseinander: dem Musikclip. Sie vergleicht Musikclips mit Blick auf deren Montage, Mise en scène und Figurendarstellung mit den Langspielfilmen ihrer Regisseure. Die Suche nach Aktualität und Veränderungen der Clips und Filme zweier Regisseure, die in beiden Feldern tätig sind, prägt diese Arbeit und will helfen einen gegenwartsbezogenen Forschungsansatz zu medialen Produkten fernab des Featurefilms zu etablieren.

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Stand: 07.11.2017
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Narrative Pleasures in Young Adult Novels, Film...
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Stories are told today through many formats and young interpreters bring multimedia experience to bear on every narrative format they encounter. In this book, twelve young people read a novel, watch a film and play a video game from beginning to end. Their responses inform a new framework of contemporary themes of narrative comprehension.

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Stand: 14.11.2017
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After Uniqueness - A History of Film and Video ...
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Erika Balsom is senior lecturer in film studies and liberal arts at Kings College London. She is the author of Exhibiting Cinema in Contemporary Art (2013) and the coeditor of Documentary Across Disciplines (2016).

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Stand: 07.11.2017
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Kunstpädagogik digital mobil - Film, Video, Mul...
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Smartphones und Tablet-Computer werden seit einigen Jahren zunehmend im Kunstunterricht eingesetzt. Doch welche Einflüsse haben mobile digitale Medien auf unseren Alltag und die Schule? Lassen sie sich im Kunstunterricht zur Förderung der Kreativität nutzen? In welchem Ausmaß und mit welchen Folgen? Bezogen auf die Bereiche Film, Video, Multimedia, 3D-Design und Mobile Learning wird diesen Fragen von 22 Autorinnen und Autoren in praxisorientierten sowie forschungsbezogenen Beiträgen nachgegangen. Das Buch enthält erprobte und vielfältig anregende Unterrichtsbeispiele zum Einsatz von Smartphones und Tablets im Kunstunterricht der Primarstufe sowie der Sekundarstufen I und II.

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Stand: 07.11.2017
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De ce vedem filme: Ei in Arcadia Cinema
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Textele despre film semnate de Alex. Leo Serban au in comun pasiunea pentru arta cinematografica si o suma de conceptii personale privind locul si rolul vizualitatii in cultura actuala. Ele lanseaza o polemica - implicita sau nu - cu cei pentru care Filmul este o fetita cu chibrituri abandonata in afara canonului cultural. In acelasi timp cartea aduce un omagiu maestrilor cinematografiei (Hitchcock Bergman Godard Pasolini Paradjanov Greenaway Haneke Tarantino Wong Kar-wai...) si pune in discutie citeva fenomene cinematografice (Titanic Stapinul inelelor...) in lipsa carora Hollywoodul nu ar fi fost decit un cartier ca oricare altul al Los Angelesului. Cuprins: Cine-a pus sexul in film • O afacere: paranoia • Un eseu hollywoodian - Alien vs Predator • Gangsterii-si fac cruce cu arma - Cidade de Deus • Intre Bvlgari si Bergman - Minority Report • Bill a doua oara si ultima - Kill Bill 2 • Filmul care nu l-a dat jos pe Bush - Fahrenheit 9/ 11 • Mel de Paste -Patimile lui Hristos• Video ergo sum

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Stand: 07.11.2017
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Ein Cinegraph Buch - Protest - Film - Bewegung ...
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In den 1960er und 1970er Jahren entstanden in Deutschland und Europa Protestbewegungen, die in ihrer Aufmüpfigkeit das gesellschaftliche Klima bestimmten und neue Themen besetzten. Plötzlich wurde der konservative Obrigkeitsstaat grundlegend in Frage gestellt. Auch der Dokumentarfilm veränderte sich inhaltlich, technisch, ästhetisch und konzeptionell. Wurde er vor 1960 überwiegend mit 35mm-Kameras gedreht, revolutionierten handliche 16mm-Kameras mit synchronem Ton die Annäherung an die Wirklichkeit. In den 1970er Jahren entstanden Medienkooperativen und Videogruppen, die dezidiert das Ziel hatten, mit Video als neuem Medium eine Gegenöffentlichkeit zu schaffen. Internationale Filmhistoriker und Vertreter aus der aktiven Szene geben einen Überblick über diese Entwicklungen des Dokumentarfilms, seine theoretischen Ansätze und historischen Hintergründe. Neben den Videogruppen als Schwerpunkt werden u.a. internationale Vorbilder aus Frankreich und Großbritannien, die Rolle des Dokumentarfilms für die Schwulen- und Frauenbewegung sowie die Subversivität des Amateurfilms in der DDR beleuchtet. Der Band entstand in Zusammenarbeit mit dem DFG-Projekt Geschichte des dokumentarischen Films in Deutschland (1945-2005).

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Stand: 07.11.2017
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The development of the interactive Schoeps Film...
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Bachelor Thesis from the year 2014 in the subject Film Science, , language: English, abstract: This thesis describes the development of an interactive online tool which comprehensively informs production sound mixers about microphones and their proper application for professional dialogue recording on location. The first chapter contemplates the fundamental characteristics of the human voice as the primary sound source. The technical specifications of all used microphones are going to be introduced and their suitable deployment in different both typical and rare situations are being described in detail. An important part of the thesis is the creation of five short films in order to give a practical demonstration of all theoretical aspects. For presentation purposes a complex individually designed video player was built, using up-to-date HTML5 technology. The player allows the user to smoothly switch between multiple audio tracks while playing the video to gain an in-depth view of the function of the different microphones and their behavior. The thesis was made available for the web presence of Schoeps under the category applications. It is the groundwork of a new resource for film sound; an ongoing and growing project with lots of different authors in the future.

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Stand: 07.11.2017
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Revising Animation Genres: Jan Svankmajer, Tim ...
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Scientific Essay from the year 2011 in the subject Film Science, grade: N/A: Professional Lecture, University of Technology, Sydney (School of Design), course: MA Animation, language: English, abstract: This lecture Revising Animation Genres: Jan Svankmajer, Tim Burton and James Cameron and the Study of Myth addresses the idea or concept of todays classification of genres for animation feature films and interrogates why this concept needs to be revised today. The lecture is also about what makes it possible to tell a story successfully within films that use animation visual effects today. To do this, it discusses why the concept of the animation genre needs to be revised and suggests how today we need to look at the idea of genres in animation differently than we did in the past. By contrast with the modernism of the past (when fixed styles in art and culture had existed, making it possible to create certain strong recognisable frameworks for art which had helped us categorise different styles and genres and types of film and types of stories), today, a lot more art and art making is made up from a lot of pastiche, which now sees the appropriating of a mixture of ideas from other contexts, genres and themes. This appropriation of ideas previously not normally grouped together within an artwork or film or piece of animation is now being combined into an overall fraternizing of codes and references in films that often would employ animation visual effects. Cyrus Manasseh is an essayist, philosopher, historian and musician. He teaches in universities and privately as a higher education consultant. He is an international scholar and has presented his ideas in a number of countries. Dr Cyrus Manasseh PhD is also a Freelance Researcher, Novelist and author of the books The Lead Guitarist and The Problematic of Video Art in the Museum 1968-90. He is also author of numerous essays and articles in the field of art history, film, architecture, video, museums, evolving media and drama. His published essays and articles include: Art without the Aesthetics? Defining Conceptual & Post-Conceptual Practices, From Passive White Cube Viewer to Active Black Cube User: Tracking Changes in Museum Environments via Installation Art (Analogue to Digital 1968-2008), Art, Language & Machines: Marcel Duchamp, Francis Picabia & Raymond Roussel. He has presented his research at international academic forums which include those in London, Sydney, Perth, Venice, Prague and Harvard where he was session chair and has lectured and taught extensively in Australian Universities. He was a finalist for the International Award for Excellence in the Constructed Environment Journal Writers Award Annual Prize for the academic essay An Inquiry into the Design and the Aesthetics of the Venice Biennale Pavilions and Film.

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Stand: 07.11.2017
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Architectural Space and Form in Science Fiction...
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Bachelor Thesis from the year 2000 in the subject Film Science, grade: 2.1, University of Reading (Dept. of Film/Architecture), course: BA Hons. Film and Drama/ Art and Architecture, language: English, abstract: Architectural space and form in Science Fiction Cinema often mirrors the identity of the individual occupying that space on the screen. However, in such films, it does more than just create certain ways of delineating (and connoting) an environment which parallels the characters position within an area guaranteeing and legitimizing their need to be there. Architectural space in Science Fiction cinema is also a space that the audience is invited and allowed to travel through - to participate, to partake in. The audience finds their way through the space, and therefore, are forced to relate and identify with the space created by the architecture during the viewing of the film. This identification process by the audience is central to a proper and legitimate understanding of the film. In this dissertation, I have chosen to analyse three films - all of them Science Fiction. My reason for choosing them was that I was intent upon finding some of the most interesting, thought provoking and effective ways architecture has been used to activate a response within viewers of film: a response, which is entirely justifiable, and extends to an unquestionable belief in the validity of the story taking place on the screen. All three of the films chosen within this study raise specific issues in relation to the significance of architectural space and form in Science Fiction cinema. Cyrus Manasseh is an essayist, philosopher, historian and musician. He teaches in universities and privately as a higher education consultant. He is an international scholar and has presented his ideas in a number of countries. Dr Cyrus Manasseh PhD is also a Freelance Researcher, Novelist and author of the books The Lead Guitarist and The Problematic of Video Art in the Museum 1968-90. He is also author of numerous essays and articles in the field of art history, film, architecture, video, museums, evolving media and drama. His published essays and articles include: Art without the Aesthetics? Defining Conceptual & Post-Conceptual Practices, From Passive White Cube Viewer to Active Black Cube User: Tracking Changes in Museum Environments via Installation Art (Analogue to Digital 1968-2008), Art, Language & Machines: Marcel Duchamp, Francis Picabia & Raymond Roussel. He has presented his research at international academic forums which include those in London, Sydney, Perth, Venice, Prague and Harvard where he was session chair and has lectured and taught extensively in Australian Universities. He was a finalist for the International Award for Excellence in the Constructed Environment Journal Writers Award Annual Prize for the academic essay An Inquiry into the Design and the Aesthetics of the Venice Biennale Pavilions and Film.

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Stand: 07.11.2017
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Cinema and Mass Media in Modernity. Walter Benj...
2,99 € *
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Seminar paper from the year 2011 in the subject Film Science, grade: N/A Professional Lecture, University of Western Sydney (School of Communication Arts, College of Arts), course: BA Design, language: English, abstract: From the beginning of photography, photographers had always attempted to produce photographs which could be accepted by the same criteria as painting. This was changed however by new people such as Moholy-Nagy, Rodchenko, Man Ray etc. who we already discussed in the tutorials. One of the first theories of film in the English Language was Vachel Lindsays The Art of the Moving Picture, which was published in 1915 which described the motion picture as a great high art. In fact, experiments in Electronic Media had originally begun in 1877 with the sound recordings Edison had made with his cylinder phonograph and the Gramophone (1898) and continuing with radio and silent movies of the 1920s and then talking cinema from 1926 which came out with the Jazz Singer. Following photography and its technological discoveries, Film production would continue to reveal the new link between art and the new developments in science during the early 19th century and the invention of film in the 1890s. Through its system of production, the rules of understanding images changed for everybody in significant ways. This period would be when the new mechanical technologies such as photographic, cinematic, and arriving soon after, television or televisual images would all be infinitely reproducible. This fact would change the role of images in society and greatly increase the influence upon us. In the era of the new films being made from the early 20th century, which had come out of the experiments that were taking place in photography one could say that then motion was added to the photograph. Because of this, early film could in this way be seen as early photoplays and the people best qualified for this had been the painters, architects and sculptors such as Edwin S. Porter in America, Georges Melies in France Dziga Vertov, Sergei Eisenstein in Russia, D.W. Griffith in America who represent some of the most important of these at the time. This lecture discuss the validity of Walter Benjamins ideas within an historical context in relation to the effects of the photographed or filmed image and the mass reproduction of images in society. Cyrus Manasseh is an essayist, philosopher, historian and musician. He teaches in universities and privately as a higher education consultant. He is an international scholar and has presented his ideas in a number of countries. Dr Cyrus Manasseh PhD is also a Freelance Researcher, Novelist and author of the books The Lead Guitarist and The Problematic of Video Art in the Museum 1968-90. He is also author of numerous essays and articles in the field of art history, film, architecture, video, museums, evolving media and drama. His published essays and articles include: Art without the Aesthetics? Defining Conceptual & Post-Conceptual Practices, From Passive White Cube Viewer to Active Black Cube User: Tracking Changes in Museum Environments via Installation Art (Analogue to Digital 1968-2008), Art, Language & Machines: Marcel Duchamp, Francis Picabia & Raymond Roussel. He has presented his research at international academic forums which include those in London, Sydney, Perth, Venice, Prague and Harvard where he was session chair and has lectured and taught extensively in Australian Universities. He was a finalist for the International Award for Excellence in the Constructed Environment Journal Writers Award Annual Prize for the academic essay An Inquiry into the Design and the Aesthetics of the Venice Biennale Pavilions and Film.

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Stand: 07.11.2017
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