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Contains twelve essays arranged around the primordial subject of realism and anti-realism (the experimental or non-representational) in film. This book treats the subject of illusion from the point of view of the cinema's unsurpassed ability to create not only the illusion of reality, but also the reality of illusion on the silver screen.
3D Cinema: Optical Illusions and Tactile Experiences questions the common frameworks used for discussing 3D cinema, realism and spectacle, in order to fully understand the embodied and sensory dimensions of 3D cinema's unique visuality.
Author : Scott C. Richmond Publisher : U of Minnesota Press Page : 276 pages File Size : 30,96 MB Release : 2016-10-15 Category : Performing Arts ISBN : 145295187X
Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, Cinema’s Bodily Illusions demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema’s power to evoke illusions: feeling like you’re flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers’ embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad’s The Flicker, eerie depth effects in Marcel Duchamp’s Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick’s 2001, Godfrey Reggio’s Koyaanisqatsi, and Alfonso Cuarón’s Gravity. In doing so he combines insights from Maurice Merleau-Ponty’s phenomenology of perception and James J. Gibson’s ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema’s perceptual, rather than representational, power. Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema’s death or irrelevance, Richmond demonstrates that cinema’s proprioceptive aesthetics make it an urgent site of contemporary inquiry.
The camera supposedly never lies, yet film's ability to frame, cut and reconstruct all that passed before its lens made cinema the pre-eminent medium of visual illusion and revelation from the early twentieth century onwards. This volume examines film's creative history of special effects and trickery, encompassing everything from George Méliès' first trick films to the modern CGI era. Evaluating movements towards the use of computer-generated 'synthespians' in films such as Final Fantasy: the Spirits Within (2001), this title suggests that cinematic effects should be understood not as attempts to perfectly mimic real life, but as constructions of substitute realities, situating them in the cultural lineage of the stage performers and illusionists and of the nineteenth century. With analyses of films such as Destination Moon (1950), Spider-Man (2002) and the King Kong films (1933 and 2006), this new volume provides an insight into cinema's capacity to perform illusions.
Seminar paper from the year 2007 in the subject Film Science, grade: 1,3, University of Cologne, language: English, abstract: In film and television production, most of the multiplicity of rendered effects are ultimate results of cleverly devised composition and camera techniques. To entertain in cinematic terms means to attract the viewer's attention by affecting him at the very core of his being. Very personal and intimate feelings must be evoked to achieve such visual awareness and therefore producers and directors of television shows and feature films are utilizing the entire technology's capacity. Most of the time, the usage of cinematic techniques comes along with heavy losses of such elements that are still realistic and original. Illusions of time and space are created and spectators are regularly deluded. The main concern of this term paper is to provide the reader with an as broad as possible overview of the technological trends that occurred in the past centuries and are of fundamental importance for the creation of illusions. Specific attention will at this juncture be turned to the manipulation of space and time, as well as to the director's intentions that were followed by it. In the second part of the paper in hand, the established principles of media-theoretical terms will be transferred to Richard Linklater's Before Sunset, a follow-up to the 1994's success Before Sunrise. A film which consists of long-take tracking shots and evokes the illusion of realism in terms of time and space that are passed, which is why it is almost predestined for a closer analysis like this.
Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.
Seminar paper from the year 2007 in the subject Film Science, grade: 1,3, University of Cologne, language: English, abstract: In film and television production, most of the multiplicity of rendered effects are ultimate results of cleverly devised composition and camera techniques. To entertain in cinematic terms means to attract the viewer’s attention by affecting him at the very core of his being. Very personal and intimate feelings must be evoked to achieve such visual awareness and therefore producers and directors of television shows and feature films are utilizing the entire technology’s capacity. Most of the time, the usage of cinematic techniques comes along with heavy losses of such elements that are still realistic and original. Illusions of time and space are created and spectators are regularly deluded. The main concern of this term paper is to provide the reader with an as broad as possible overview of the technological trends that occurred in the past centuries and are of fundamental importance for the creation of illusions. Specific attention will at this juncture be turned to the manipulation of space and time, as well as to the director’s intentions that were followed by it. In the second part of the paper in hand, the established principles of media-theoretical terms will be transferred to Richard Linklater’s Before Sunset, a follow-up to the 1994’s success Before Sunrise. A film which consists of long-take tracking shots and evokes the illusion of realism in terms of time and space that are passed, which is why it is almost predestined for a closer analysis like this.
New York Times best-selling author and comedian-turned-motivational speaker, Kyle Cease, shows how your obsession with money is actually preventing you from living the life of your dreams. "I can't afford that." "Now's not the right time . . . I need to save up." "Quit my job? Are you nuts?!" Sound familiar? Money is one of the biggest excuses we make to not go after what we really want. Our fixation with money--the desire for more of it, and the fear of not having enough of it--is often really just a longing to feel safe. But this obsession with money is coming at a much bigger cost: our sanity, our creativity, our freedom, and our ability to step into our true power. This book is about eliminating the need to seek safety through the illusion of money, and learning to see ourselves for the perfection that we are--so that we can bring our gifts to the world in an authentic way, and allow ourselves to receive massive, true abundance as a result. Kyle Cease has heard excuses like the ones above countless times at his live events, and he has shown people how to completely break through them. In The Illusion of Money, he shares his own experiences as well as practical tools to help readers understand their ingrained beliefs and attachments to money, and how they can tap into our infinite assets and talents. "After 25 years as a successful comedian, actor, transformational speaker, author and junior-league amateur bowler, I've experienced many times how chasing money is not an effective way to create an abundant and fulfilling life. The most alive I've ever felt was after I left my comedy career at its peak to become a transformational speaker. I left tons of guaranteed money and so-called security for a complete unknown. It was terrifying--but what was on the other side of that terror was a completely different life that is not only more abundant financially, but has more freedom, more ease, more passion, more impact and more joy." -- Kyle Cease
What does it mean to describe cinematic effects as "movie magic," or to say that the cinema is all a "trick"? To answer these questions, Colin Williamson situates the cinema within a long tradition of magical practices and devices of wonder that combine art and science, involve deception and discovery, and evoke both awe and curiosity. Hidden in Plain Sight shows how, even as they mystify audiences, cinematic illusions also encourage them to learn more about the technologies and techniques behind moving images.