標(biāo)題: Titlebook: Experimental and Expanded Animation; New Perspectives and Vicky Smith,Nicky Hamlyn Book 2018 The Editor(s) (if applicable) and The Author(s [打印本頁] 作者: 次要 時間: 2025-3-21 18:28
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書目名稱Experimental and Expanded Animation網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Experimental and Expanded Animation被引頻次
書目名稱Experimental and Expanded Animation被引頻次學(xué)科排名
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書目名稱Experimental and Expanded Animation讀者反饋
書目名稱Experimental and Expanded Animation讀者反饋學(xué)科排名
作者: 北極人 時間: 2025-3-21 22:49 作者: 臥虎藏龍 時間: 2025-3-22 00:48 作者: CRUE 時間: 2025-3-22 05:57
Overview of Global Atmospheric Change,s book. It had been our intention to trace developments since the 1970s, but things have turned out rather differently in the end, and perhaps inevitably, given the incalculable explosion of all kinds of animation everywhere. The pervasiveness of animated phenomena, and the impossibility of capturin作者: 不透明性 時間: 2025-3-22 09:26
Air Pollution Monitoring in Romaniaary works by a range of artists, but it also lights on historical precedents, offering a perspective on aspirations and concepts that have been associated with linear aesthetics. Continuous lines and vectors, which partly reflect the illusion of continuity in film and video, have often been aligned 作者: Optic-Disk 時間: 2025-3-22 15:26
Global Change in Atmospheric Metal Cycles,c in the 1960s. Screens now dominate multiple levels of public and personal space. Light shows, hefty screens and Vjing as real-time performance define popular music events. This pervasive mobility has also regenerated activity in public, multi-screen performances of formalist, graphic imagery by fi作者: Optic-Disk 時間: 2025-3-22 17:37 作者: AROMA 時間: 2025-3-22 22:12 作者: BRINK 時間: 2025-3-23 04:17 作者: 分開 時間: 2025-3-23 06:18 作者: Myocarditis 時間: 2025-3-23 10:02
https://doi.org/10.1057/9781137516176ng to a numerical system. As such, they might seem to follow in the footsteps of the classical Flicker Film genre. Crucially, however, in contrast to these paradigms, McClure works with technologies that are modified to such an extent that the results are arguably not films in any usual sense. His p作者: conduct 時間: 2025-3-23 16:54 作者: 枯燥 時間: 2025-3-23 20:48
https://doi.org/10.1007/978-3-319-93545-4film and media. Beginning with a discussion of Ahwesh’s practice of appropriating CGI animated news footage in her recent films, the conversation then broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which the作者: 鈍劍 時間: 2025-3-24 01:29 作者: 現(xiàn)存 時間: 2025-3-24 05:23 作者: AGATE 時間: 2025-3-24 06:49 作者: sulcus 時間: 2025-3-24 11:49
978-3-030-08877-4The Editor(s) (if applicable) and The Author(s) 2018作者: 贊成你 時間: 2025-3-24 18:41
Experimental and Expanded Animation978-3-319-73873-4Series ISSN 2523-7527 Series E-ISSN 2523-7535 作者: 減震 時間: 2025-3-24 23:05
Book 2018rms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics..? ? ? ? ? ? ? ??.作者: 書法 時間: 2025-3-25 02:23 作者: extrovert 時間: 2025-3-25 03:47
Introduction,s book. It had been our intention to trace developments since the 1970s, but things have turned out rather differently in the end, and perhaps inevitably, given the incalculable explosion of all kinds of animation everywhere. The pervasiveness of animated phenomena, and the impossibility of capturin作者: 激勵 時間: 2025-3-25 11:27 作者: grotto 時間: 2025-3-25 12:46 作者: 畸形 時間: 2025-3-25 18:34
Twenty-First Century Flicker: Jodie Mack, Benedict Drew and Sebastian Buerkner,lmost sculptural—attention to frame intervals and the kinetic visual rhythms and patterns they can create exposes the stroboscopic ‘pulse’ of cinematography and the limits of ‘a(chǎn)nimation’. More than this, creative use of flicker offers us, as subjects, a valuable opportunity to reassess our relations作者: 加花粗鄙人 時間: 2025-3-25 23:18 作者: synovium 時間: 2025-3-26 00:40
Analogon: Of a World Already Animated,ations think especially hard about movement, time and, unsurprisingly, animation: what motivates something to move. In their remarkably different ways, . (2007–2008) and . (1987) undertake a radical thinking-through of change, respectively as mutation and its constituents, and the capacities of film作者: Confound 時間: 2025-3-26 07:24
,Emptiness Is Not ‘Nothing’: Space and Experimental 3D CGI Animation,thin a 3D CGI world can form the material basis when working within this mode of production. Also, drawing from Heidegger’s discourse on space, this chapter outlines a combined theoretical and a practical exploration into space as material where emptiness and the void are offered as methods for an i作者: GLOSS 時間: 2025-3-26 08:46 作者: engrave 時間: 2025-3-26 14:41
Re-splitting, De-synchronizing, Re-animating: (E)motion, Neo-spectacle and Innocence in the Film Wo-positions ‘a(chǎn)nimation’ both as an extension of its own anticipated limits, and within a broader spectrum of moving-image practices, ultimately using Stezaker’s work as an exemplar of both a resistance to the way film is used in dominant experimental arts practice, and the way in which ‘a(chǎn)nimation’ ha作者: 傻 時間: 2025-3-26 19:41
Cut to Cute: Fact, Form, and Feeling in Digital Animation,film and media. Beginning with a discussion of Ahwesh’s practice of appropriating CGI animated news footage in her recent films, the conversation then broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which the作者: Triglyceride 時間: 2025-3-26 21:50
,The Animated Female Body, Feminism(s) and ‘Mushi’,allation or interactive live performance. This chapter examines productions of five women artists active in these presentation modes whose creative outputs are imbued with themes of gender, social relationships, and urban and natural environments—Suzan Pitt, Tabaimo, Rose Bond, Marina Zurkow and Miw作者: BRAND 時間: 2025-3-27 03:43
,“Coming to Life” and Intermediality in the Tableaux Vivants in , (Pucill, 2013) and , (Pucill, 2016ct photographs by Claude Cahun, which according to Peth? are the supreme examples of intermedial intensity. The duality of traditional categories of ‘a(chǎn)nimation–live action’ is examined through the writing of Tomas Lamarre. The crossing of time period and authorship is highlighted as an intensity of 作者: aphasia 時間: 2025-3-27 08:26
Siting Animation: The Affect of Place,he viewing experience without significant change in her angle of view of the images on the screen before her. Through reference to examples of works by artists Rose Bond, Birgitta Hosea, Pedro Serrazina and Xue Yuwen, this chapter considers non-narrative animation that has been created to be part of作者: AGONY 時間: 2025-3-27 13:10
2523-7527 ctical and theoretical perspectives.Engages the novel method.This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s .Experimental Animation: Origins of a New Art. (1976), has proliferated in the context of expanded cinema, performance作者: TAP 時間: 2025-3-27 14:47 作者: thrombosis 時間: 2025-3-27 17:52
Introduction and Preliminaries,animation–live action’ is examined through the writing of Tomas Lamarre. The crossing of time period and authorship is highlighted as an intensity of intermediality in film, which points to the potential significance of an artist animating the historical archive in film.作者: 名詞 時間: 2025-3-27 22:54
Overview of Global Atmospheric Change,s on expanded forms of animation. The result is a wide-ranging set of essays which focus on specific aspects of practice, from detailed analyses of individual filmmakers’ work to consideration of some of the fundamental philosophical and aesthetic issues arising from expanded and experimental forms of animation.作者: 1FAWN 時間: 2025-3-28 05:29
Global Atmospheric-Biospheric Chemistrylving figures on the walls of the city. . . is a 30-minute film by Swiss artists Peter Fischli and David Weiss which documents in a series of long takes (with carefully concealed edits) a series of home-made devices which variously decompose, fall, crash and burn to produce a chain reaction of events.作者: semble 時間: 2025-3-28 10:12 作者: 燒烤 時間: 2025-3-28 13:34
Analogon: Of a World Already Animated,lving figures on the walls of the city. . . is a 30-minute film by Swiss artists Peter Fischli and David Weiss which documents in a series of long takes (with carefully concealed edits) a series of home-made devices which variously decompose, fall, crash and burn to produce a chain reaction of events.作者: macabre 時間: 2025-3-28 17:12
Book 2018gins of a New Art. (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new a作者: beta-cells 時間: 2025-3-28 22:04 作者: 大氣層 時間: 2025-3-29 00:08 作者: 豪華 時間: 2025-3-29 03:46
Air Pollution Monitoring in Romania in the flow of moving-image media and a technological critique. ‘Lines and Interruptions’ looks at aesthetics that reflect these two poles, as well as instances in between which undermine the binary opposition of continuity/segmentation.作者: cumulative 時間: 2025-3-29 08:16
Afshan Jafar,Erynn Masi Casanovahich were extremely generative for feminist film studies), the Japanese ethnocategory of mushi (蟲), and with the contexts of second and third wave feminism, I propose that these works offer complex and imaginative social and environmental alternatives, and an alternate spatial politics, to the viewers of these presentation modes.作者: Dorsal 時間: 2025-3-29 11:58
Lines and Interruptions in Experimental Film and Video, in the flow of moving-image media and a technological critique. ‘Lines and Interruptions’ looks at aesthetics that reflect these two poles, as well as instances in between which undermine the binary opposition of continuity/segmentation.作者: Nmda-Receptor 時間: 2025-3-29 16:48
,The Animated Female Body, Feminism(s) and ‘Mushi’,hich were extremely generative for feminist film studies), the Japanese ethnocategory of mushi (蟲), and with the contexts of second and third wave feminism, I propose that these works offer complex and imaginative social and environmental alternatives, and an alternate spatial politics, to the viewers of these presentation modes.作者: overture 時間: 2025-3-29 23:38 作者: 怒目而視 時間: 2025-3-30 02:10
Global Change in Atmospheric Metal Cycles,hip to the heavy image flow of our multi-screen culture. This chapter makes its case by concentrating on recent flicker work by Jodie Mack, Benedict Drew and Sebastian Buerkner and situates them within the lineage of experimental flicker practice.作者: 不規(guī)則 時間: 2025-3-30 04:12 作者: Lipohypertrophy 時間: 2025-3-30 11:32 作者: Concerto 時間: 2025-3-30 13:03
https://doi.org/10.1057/9781137516176erformances are important for the way in which they probe the necessary and sufficient conditions for something to count as a film, through a disruptive questioning of what film movement is, via image-generated sound relations, which, though mutually dependent in a technical sense, are affectively disjunctive.
