Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (58 leaves : col. ill. ; 22 x 30 cm. + DVD) in City Campus Collection (T 776.6 SHE)

Thesis (M.S. in Community Research and Action)--Vanderbilt University, Dec. 2007. / Title from title screen. Includes bibliographical references.

Cinema, as a complex social and cultural phenomenon, has been recently challenged by digital media cultures and aesthetics since the 1990s. In this study, Hong Kong cinematic productions, blending the West and the East, and flexibly manoeuvring production and post-production with limited resources, are used to demonstrate the advent of new digital cinematic aesthetics and productions in the era of globalization and digitalization. The production culture and aesthetics of local cinema has been, to a great extent, internally modified by the impacts of digital media cultures and technologies, especially digital effects and computer animation of unprecedented imaginary spaces and perspectives for creative productions. The increasing complexity of digital cinematic productions and the rapidly changing cultural production systems bring in newcomers of alternative modes/choices of thoughts and interpretations, thus facilitating production/product differentiation and de-differentiation to cater for the increasing and changing demands of active audiences. The vigorous struggle for cultural representations in digital cinematic aesthetics by producers and consumers of disparate repertoires is the focus of analysis in this research. Empirical evidences suggest a new paradigmatic model to study cultural representations of digital cinematic aesthetics within contemporary creative systems of production and consumption. / The findings generally support the advent of the ten new aesthetics of digital cinema as a global trend as well as a new glocalism in the Hong Kong cases. While most interviewed producers and audiences articulate the new characteristics of digital cinematic aesthetics, many audiences show disjunctive judgments toward those local filmmakers' treatments to cross-fertilize video game with their cinematic productions. This reveals the inevitability of internal modifications of organization cultures and representational practices to create new digital cinematic aesthetics and productions within new dynamics of digital media cultures and technologies in the fast changing media ecology. Hong Kong filmmakers and computer animators show their strength and flexibility to glocalize digital cinematic aesthetics and productions by integrating digital visual effects with local film and production cultures, especially in comedic and martial arts cinematic productions. However, it seems that there are larger discrepancies concerning the tastes and aesthetic judgments toward cultural representations in digital cinematic aesthetics by cross-fertilization with video game between general audiences and professionals. This study reflects that the rigid, director-oriented Hong Kong film production system is too demanding on the film director's independent ability of coordination and greatly influences the development of cultural representations in digital cinema by collective imaginative inputs of increasing complexity and flexibility. Producers and consumers of disparate repertoires of cultural practices contribute to the meaning construction of multiple layers of digital effects and computer animation by systematic coordination and collaboration. In other words, the "spectrum of cultural representations", as a framework, helps us understand the complexity and creativity of the new digital cinematic aesthetics from production to consumption practices. / This study is a multidimensional investigation of the moments of creativity and struggles over organization cultures and representational practices by both cultural producers and audiences. There are case studies of the general trend of digital cinematic productions in Hollywood and the specific development of digital cinema in Hong Kong, as well as in China. From these empirical analyses, ten new characteristics of digital cinematic aesthetics are generalized. They include (l) amplification, (2) free referencing, (3) seamlessness and believability, (4) multiple-layered composition, (5) patterning, (6) imaginary perspectives, (7) collective imaginative inputs, (8) cross-fertilization with comic, (9) cross-fertilization with video game, and (10) cross-cultural, cross-historical, cross-genre production. Such inductive findings are also deployed to study the social functions of both producers and audiences in the meaning construction of digital cinematic aesthetics and productions within the dynamics of digitalization and globalization. Eighteen in-depth interviews of production insiders, five focus groups of disparate generations of movie audiences and amateurs, and eleven case studies of Hong Kong digital cinematic productions have been examined. The empirical validity about the ten new forms of digital cinematic aesthetics and their production and consumption is investigated, and also achieved by intensive and interactive case studies, production studies and audience studies, combining textual and discourse analyses and production and reception analyses. / Lam, Sui Kwong Sunny. / Advisers: Anthony Y. H. Fung; Eric K. W. Ma. / Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 536-562). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-18T12:07:36Z No. of bitstreams: 1 Bernardo Queiroz de Siqueira Santos.pdf: 6540108 bytes, checksum: 15368e1418e5230caf9a2a425ae11632 (MD5) / Made available in DSpace on 2017-12-18T12:07:36Z (GMT). No. of bitstreams: 1 Bernardo Queiroz de Siqueira Santos.pdf: 6540108 bytes, checksum: 15368e1418e5230caf9a2a425ae11632 (MD5) Previous issue date: 2017-12-05 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / What are the traits that predominate in cinema on the present context of digital communication technologies? This PHD thesis proposed a study of what we define as reloaded Cinema, a denomination that refers to the transformation phenomena that affected movies in the beginning of the 21st century, based on the complexities that emerge from the highly integrated communicational processes of the media. That phenomenon is based on the interactions between the networked media environment, the potentials unlocked by the digitalization processes and the relationships with users. The Corpus of this study is composed by audio-visual projects that question and expand the limits of what is cinema, in the sense that was conceived previously. This reload of Cinema is a complex network, composed by the articulations of material, cognitive, linguistic, cultural and multimedia elements. Our method is composed by three stages 1) defining what this reloaded phenomenon is by the selection of those audio-visual projects that undermine the limits of established Cinema; 2) evaluate those projects through proceedings of localization, description and analysis; 3) Organize a synthesis of their properties and propose evaluative schema for cinematic works. Adopting the Complexity Thought proposed by Morin, we affirm that the Reloaded Cinema does not exist as an hegemonic, monolithic and isolated element, but as a communicational phenomenon inserted in culture, that emerges from between users, devices and software mediations. Under this perspective, we avoid determinisms and recognize the intrinsic paradoxes of Cinema in the digital age. Our hypothesis is that the reconfigurations (or reload) of cinema can be found on a) interactions between connected technologies of vision and it´s users through various mobile-imagedevices, like Virtual and Augmented Reality systems; b) on the emerging possibilities of creational processes generated by cinema´s connections and compatibility with Online Networks and Digitized databases, such as collaborative films and AI-oriented screenwriting; c) in mutations on construction of filmic time and space, influencing cinematographic language; d) contaminations of Cinema with other Network-Connected media, and it´s consequences on contemporary culture, where the limits between cinema and other media becomes blurry and overlapped. The results of this research are a map of the present reloaded stage of Cinema, both in the sense of audio-visual experimentation as an overview of its emerging potentials of creative processes, modes of experience and integrations with communication environments of contemporary culture / Quais as características que predominam no cinema no contexto das tecnologias digitais de comunicação? Esta tese de doutorado tem por objetivo estudar o Cinema Reloaded, denominação que propomos para nos referir ao fenômeno de transformação do cinema no início do século XXI, partindo do pressuposto das complexidades que emergem nos processos comunicacionais. Consideramos, para isso, o ambiente midiático das redes, os potenciais que emergem dos procedimentos de digitalização e as relações com os usuários. O corpus de análise é composto por projetos audiovisuais que problematizam e expandem as fronteiras do cinema, no sentido em que foi concebido até então. Compreendemos o Cinema Reloaded enquanto rede complexa, composta pela articulação de elementos materiais, cognitivos, linguísticos, culturais e multimidiáticos. Nossa proposta metodológica é composta por três etapas: (1) enunciar o conceito de Cinema Reloaded a partir da escolha e definição de projetos audiovisuais exemplares; (2) examinar os projetos selecionados através de procedimentos de localização, descrição e análise; (3) organizar e propor uma síntese das qualidades inventariadas no processo e formular esquemas avaliativos para obras. Adotando como fundamentação teórica o pensamento da complexidade segundo a leitura de Morin, afirmamos que o Cinema Reloaded não existe como um elemento monolítico ou isolado, mas como um fenômeno comunicacional inserido na cultura, que emerge entre usuários, aparatos e mediações do software. Também de acordo com essa perspectiva, evitamos determinismos e reconhecemos os paradoxos. Nossa hipótese é que as reconfigurações (reload), do cinema podem ser constatadas a) nas interações entre as tecnologias conectadas da visão com os usuários, através de aparatos de fruição de imagens em movimento, a exemplo dos sistemas de realidade virtual e aumentada; b) nas possibilidades emergentes de processos criativos gerados pela interconexão do cinema com as redes digitais online e as lógicas dos bancos de dados, como os filmes colaborativos e roteiros organizados por inteligências artificiais; c) nas mudanças na construção dos espaços e do tempo fílmico na era digital, as suas influências na linguagem cinematográfica e; d) as contaminações do cinema com outras mídias conectadas na era digital e suas interações na cultura contemporânea, onde as fronteiras ficam borradas e sobrepostas. O resultado da pesquisa é um mapeamento das características do cinema em seu estágio Reloaded, tanto no sentido das experimentações audiovisuais como na delimitação de suas potencialidades emergentes de criação, modos de experiência e integração com os ambientes comunicativos da cultura contemporânea

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-05T11:47:25Z No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) / Made available in DSpace on 2018-12-05T11:47:25Z (GMT). No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) Previous issue date: 2018-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that also frighten because of the overlooked practices and knowledge that preceded them. Does the novelty replace what comes previously or simply overlap it? What does one gain and what does one lose in this process? Among several examples, I focused on a technological transition and a professional category that symbolized this lack of communication between the new and what precedes it; they mirrored each other. The film-to-digital transition in the cinema was also the projectionist - IT technician transition. What other transitions exist within this one? From film to digital. From the 35mm projector to the digital projector. From the projectionist to the IT technician. From the analog to the digital. From the photochemical film to the computer. From the touch to the virtual. From the physics and chemistry to the mathematics. The research has aimed to understand the film-to-digital transition from the point of view of the cinema projectionist. For that, semi-structured interviews were conducted with three professionals in the city of São Paulo, with similar years of experience and involvement with cinema, similar belonging and affection feelings. In addition, the narratives of two other professionals who worked in the 1950s have been added. These interviews were transcribed in full, sequentially organized in order to identify the themes and later analyzed through thematic maps. The results of the analysis were presented in a narrative form, composed by the direct inscription of the interviews, historical passages about the cinema and testimonies of other professionals of the area, as well as of intellectuals who dialogue with the research proposal. These different points of view have been structured in a narrative form in this dissertation, as a conversation. The research has been anchored in the constructivist approach of discursive practices and production of meanings in everyday life. The analysis pointed out to the intrinsic relationship between death and life in technology and in professional relationships, with emphasis on the importance of registration and of cultural memory / A pesquisa surgiu da inquietação diante de tecnologias que fascinam por suas facilidades e possibilidades e assustam pelo descaso com práticas e saberes que as precederam. O novo substitui o anterior ou apenas se sobrepõe a ele? O que se ganha, o que se perde nesse processo? Entre diversos exemplos, focalizei uma transição tecnológica e uma categoria profissional que simbolizavam essa falta de comunicação entre o novo e o precedente; espelhavam uma à outra. A transição película / digital no cinema era também a transição projecionista / técnico de TI. Quais outras transições existem dentro dessas? Da película para o digital. Do projetor 35mm para o projetor digital. Do projecionista para o técnico de TI. Do analógico para o digital. Do filme fotoquímico para o computador. Do tato ao virtual. Da física e da química para a matemática. A pesquisa teve por objetivo entender a transição película / digital do ponto de vista do projecionista de cinema. Para tanto, foram realizadas entrevistas semiestruturadas com três profissionais na cidade de São Paulo, com tempo de ofício e envolvimento semelhantes com o cinema, de pertencimento e afeto. Além disso, somaram-se às narrativas destes as de outros dois profissionais que atuaram nos anos 1950. As entrevistas foram transcritas na íntegra, organizadas sequencialmente para identificação dos temas e posteriormente analisadas por meio de mapas temáticos. Os resultados da análise foram apresentados de forma narrativa, compostos com a inscrição direta das entrevistas, passagens históricas sobre o cinema e depoimentos de outros profissionais da área, bem como de intelectuais que dialogam com a proposta da pesquisa. Esses diversos pontos de vista foram estruturados em narrativa nesta dissertação, como uma conversa. A pesquisa foi ancorada na abordagem construcionista de práticas discursivas e produção de sentidos no cotidiano. A análise apontou para a relação intrínseca entre morte e vida na tecnologia e nas relações profissionais, com ênfase na importância do registro e da memória cultural

The Last Two Years of David Brachman is a feature-length digital film directed, written and produced by Marcos Casilli in pursuit of the Master of Fine Arts in Film & Digital Media from the University of Central Florida. This is a very personal film that presents a sometimes-humorous approach to the following question: what makes life worth living? The film was made on what is categorized as a microbudget, but following the studio production model for the most part. This thesis presents a critique of that combination, advocating for a "slow cinema" model instead.

Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.

No description available.