Global ETD Search

21	La evolución en la dirección de arte del cine peruano del 2013 al 2018 / The evolution in the art direction of Peruvian cinema from 2013 to 2018 Montoya Machuca, Pamela Diana 30 September 2021 (has links) El presente proyecto de investigación tiene como objetivo principal realizar un análisis acerca de la evolución en la dirección de arte del cine peruano del 2013 al 2018. Para ello se tiene como muestras de estudio a cuatro películas peruanas de género comedia, las cuáles son “Asu Mare”, “A los 40”, “Ceviche de Tiburón” y “Soltera Codiciada”. Se buscará tener como base a los  elementos de la dirección de arte y sus componentes que aportan en la construcción narrativa. Con la finalidad de realizar un trabajo que demuestre la evolución de la dirección de arte en las escenas de las películas elegidas que presentan una destacada dirección de arte con el vestuario,  utilería, escenografías/espacio y también detectar el uso adecuado del color tanto en sus elementos como la propuesta de paleta de color del film. Finalmente, analizar y observar cómo los elementos mencionados aportan en la construcción narrativa. Esta investigación cualitativa busca analizar y explicar de manera minuciosa y crítica por medio  de conceptos claros que se encuentran distribuidos por variables referentes al tema y de este modo comprender los cambios de la dirección de arte y su aporte en la narrativa. / The main objective of this research project is to carry out an analysis about the evolution in the art direction of  Peruvian cinema from 2013 to 2018. For this, we have as study samples four Peruvian films of the comedy genre, which are “Asu Mare ”,“ A los 40'', `` Ceviche de Tiburón ”and“ Soltera codiciada ”. It will seek to have as a basis the elements of the art direction and its components that contribute to the narrative construction. In order to carry out a work that demonstrates the evolution of the art direction in the scenes of the chosen films that present an outstanding art direction with the costumes, props, scenographies / space and also detect the appropriate use of color both in their elements such as the proposed color palette of the film. Finally, analyze and observe how the aforementioned elements contribute to the narrative construction. This qualitative research seeks to analyze and explain in a meticulous and critical way through clear concepts that are distributed by variables related to the subject and thus understand the changes in the art direction and its contribution to the narrative. / Trabajo de investigación Dirección de arte Escenografía Construcción narrativa Art direction Scenography Narrative construction
22	The Last Two Years Of David Brachman: Designing A Feature Film On A Micro Budget Sutphin, Elizabeth Anne 01 January 2012 (has links) This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David’s world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David’s home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director’s vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful iv planning and organization of each design element and their execution ensured the successful creation of David’s world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included. Casilli Marc Costume Low budget films Motion pictures -- Art direction Motion pictures -- Setting and scenery Theatre and Performance Studies
23	Abrir la visión. Lo dado y lo posible: análisis, posibilidades y porvenir. La alfabetización para la imagen actual y futura Aragó Miñana, Maria del Mar 23 January 2024 (has links) [ES] La imagen ha permeado en nuestro contexto insertándose y explotando en millones de pequeñas pantallas. Dentro de éstas, un ingente flujo constante e inabarcable de estímulos visuales a ritmo acelerado, hace que estemos rodeados por innumerables cantidades de ellas. La temporalidad ahora es inmediata y el espacio, un bucle. Los avances tecnológicos han propiciado una pérdida de corporeidad y un alejamiento de lo que, comúnmente, considerábamos humano. Lo que antes era tangible ahora ha pasado a ser presencia de luz. La superficialidad que ha generado este proceso ha derivado en una pérdida de lo concreto, una dinámica expansiva que ha cambiado nuestro modo de percibir la realidad, haciendo más difícil su concreción, acotación, o simple cognición. En esta era hipervisual, las imágenes son herramientas de dominación y de consumo, a través de ellas se ocupan espacios de visibilidad, se gestionan cánones o tendencias y se ejecutan intereses cruzados. La hegemonía de la imagen nos hace dependientes, nos evadimos y producimos (y nos producimos) a través de ellas. Esta investigación gira en torno a la relación entre imagen, poder y conocimiento, y en cómo nuestra realidad se produce social y estéticamente alrededor de lo visual. Expone planteamientos amalgamando pensamiento, referencias y contexto y reflexiona sobre las nuevas vías y posibilidades que se esbozan en un contexto mediado tecnológicamente. Las imágenes pasan ante nosotros casi sin darnos cuenta y sedimentan patrones, símbolos y significados. Fluctuando entre lo visible y lo no visible, la alfabetización visual evidencia como las imágenes modelan, afectan y manipulan el mundo en que vivimos. A través del pensamiento estético y disciplinas como la dirección de arte, este trabajo pretende desenmarañar el contexto de la imagen actual y hacer accesibles los engranajes de su funcionamiento. / [CA] La imatge ha permeat en el nostre context inserint-se i explotant en milions de petites pantalles. Dins d'aquestes, un ingent flux constant i inabastable d'estímuls visuals a ritme accelerat fa que estiguem envoltats per innombrables quantitats d'elles. La temporalitat és immediata i l'espai, un bucle. Els avanços tecnològics han propiciat una pèrdua de corporeïtat i un allunyament del que, comunament, consideràvem humà. Allò que abans era tangible ara ha passat a ser presència de llum. La superficialitat que ha generat aquest procés ha derivat en una pèrdua del que és concret, una dinàmica expansiva que ha canviat la nostra manera de percebre la realitat, fent més difícil la seva concreció, acotació, o simple cognició. En aquesta era hipervisual, les imatges són eines de dominació i de consum, mitjançant les quals s'ocupen espais de visibilitat, es gestionen cànons o tendències i s'executen interessos creuats. L'hegemonia de la imatge ens fa dependents, ens evadim i produïm (i ens produïm) a través d'ella. Aquesta investigació gira entorn de la relació entre imatge, poder i coneixement, i en com la nostra realitat es produeix socialment i estèticament al voltant d'allò visual. Exposa plantejaments amalgamant pensament, referències i context i reflexiona sobre les noves vies i possibilitats que s'esbossen en un context mediat tecnològicament. Les imatges passen davant nostre gairebé sense adonar-nos-en i sedimenten patrons, símbols i significats. Fluctuant entre allò visible i allò no visible, l'alfabetització visual evidencia com les imatges modelen, afecten i manipulen el món en què vivim. A través del pensament estètic i disciplines com la direcció d'art, aquest treball pretén desembullar el context de la imatge actual i fer accessibles els engranatges del seu funcionament. / [EN] The image has permeated our context, inserting itself and exploding on millions of small screens. Within these, a huge constant and unfathomable flow of visual stimuli at an accelerated pace, means that we are surrounded by innumerable amounts of them. Temporality is now immediate and space, a loop. Technological advances have led to a loss of corporeality and a distance from what we commonly considered human. What was previously tangible has now become a presence of light. The superficiality that this process has generated has resulted in a loss of the concrete, an expansive dynamic that has changed our way of perceiving reality, making its concretion, delimitation, or simple cognition more difficult. In this hypervisual era, images are tools of domination and consumption, through which spaces of visibility are occupied, canons or trends are managed and crossed interests are executed. The hegemony of the image makes us dependent, we escape and produce (and produce ourselves) through them. This research revolves around the relationship between image, power and knowledge, and how our reality is socially and aesthetically produced around the visual. It exposes approaches combining thought, references and context and reflects on the new paths and possibilities that are outlined in a technologically mediated context. The images pass before us almost without realizing it and sediment patterns, symbols and meanings. Fluctuating between the visible and the invisible, visual literacy shows how images shape, affect and manipulate the world in which we live. Through aesthetic thought and disciplines such as art direction, this work aims to unravel the context of the current image and make the gears of its operation accessible. / Aragó Miñana, MDM. (2023). Abrir la visión. Lo dado y lo posible: análisis, posibilidades y porvenir. La alfabetización para la imagen actual y futura [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202192 Visuality Digital image Visual literacy Aesthetic thinking Art direction Aesthetics Imagen digital Visualidad Alfabetización visual Pensamiento estético Dirección de arte Estética Imagen actual ESCULTURA
24	Representación de personajes andinos desde la estética audiovisual publicitaria de la televisión peruana / Representation of Andean Characters from the Advertising Audiovisual Aesthetics of Peruvian Television Santamaría Julca, Lía Nathalia 26 November 2020 (has links) El racismo está presente dentro de la cultura peruana, pero de una manera muy aversiva: se expresa en forma cómica o en forma de burla. El propósito del trabajo es comprobar qué tanto perciben los comunicadores en formación la representación de personajes andinos con respecto a la estética audiovisual. Luego de investigar y leer artículos, se reconoce la relación entre los estereotipos étnicos, el racismo peruano sobre el personaje andino y la estética audiovisual de los comerciales de televisión, siendo estos normalizados en algunos casos por la sociedad peruana. Esta investigación es de carácter cualitativo, para el cual se utilizará un método de recolección de datos: una guía de entrevistas para 15 comunicadores en formación que sintonicen frecuentemente la televisión peruana. El resultado que se espera es ver si los comunicadores en formación perciben los estereotipos y representaciones de personajes andinos. Además, de qué manera lo hacen y si reaccionan o no. / Racism is present within Peruvian culture, but in a very aversive way: it is expressed in a comical way or in the form of derision. The purpose of the work is to check how much the communicators in training perceive the representation of Andean characters with respect to the audiovisual aesthetic. After researching and reading articles, the relationship between ethnic stereotypes, Peruvian racism about the Andean character and the audiovisual aesthetics of television commercials is recognized, these being normalized in some cases by Peruvian society. This research is qualitative in nature, for which a data collection method will be used: an interview guide for 15 communicators in training who frequently tune in to Peruvian television. The expected result is to see if the communicators in training perceive the stereotypes and representations of Andean characters. Also, in what way do they do it and if they react or not. / Trabajo de investigación Racismo Estereotipos étnicos Estética audiovisual Dirección de arte Comerciales de televisión Racism Ethnic stereotypes Audiovisual aesthetics Art direction Television commercials
25	Análisis desde la narrativa fílmica del personaje femenino Jo March (Mujercitas, 2019) como representación de la mujer posmoderna Reyes Verastegui, Vanessa Paola 04 September 2020 (has links) El objetivo principal del presente trabajo de investigación es la lectura y análisis de Jo March, el personaje principal de la película “Mujercitas” (2019) dirigido por Gretta Gerwing, desde los elementos de la narrativa fílmica como la construcción de personajes y la dirección de arte. Este análisis vendrá motivado con la finalidad de comprobar como es que este personaje representa a la mujer posmoderna, según el concepto del autor Gilles Lipovetsky, aunque desarrollado en un contexto social perteneciente al siglo XIX. / The main objective of this research work is the reading and analysis of Jo March, the main character of the film “Little Women” (2019), directed by Gretta Gerwing, from the elements of the filmic narrative such as the construction of characters and the direction of art. This analysis will be motivated in order to verify how this character represents the postmodern woman, according to the concept of the author Gilles Lipovetsky, although developed in a social context belonging to the 19th century. / Trabajo de investigación Narrativa fílmica Análisis fílmico Dirección de arte Personaje cinematográfico Cine Film narrative Film analysis Art direction Cinematic character Movie theater
26	The Shades of Styles : A human search for words communicating all aspects of styles. Hellerslien, Erlend January 2021 (has links) This research is an investigative attempt on the concept of style´s development to potentially noticing our diverse human history on viewing the aspect of styles, starting (in the part one) by looking into the problem of the development of styles and its characteristic of representation in terms of its messages, realties, semiotics, and human collaboration. Leading towards the human search in seeing style more commonly neutral for a more meaningful dialog. The research shows then (in the part two) the potential to build a Digital Style Dictionary and A Digital Visual Compass: A Human-Centric Guide on The Aspect of Seeing Reality’s that can support identifying aspects of multiple realities (core reality, abstract reality, surreal reality and artificial reality) — where two cases (in the part three) of visual styles get analyzed, discussed, reframed, and presented (Transpace and Swisch). Fundamentally this paper looks to provoke a discussion on what we humans want the point to be in seeing styles. The complexity is as grand as our diversity, but still, this research highlights the hope to respectfully identify the distinctive shades of styles for the sake of a more significant human dialog and inclusion. The research´s grand ambition is knowingly bigger than what it itself can grasp to complete right now (2021) fully. It proposes an idea for the near future to shape a Digital Style Dictionary and a Digital Visual Compass that works for the common human aspect of seeing styles. This research is a first attempt towards shaping the fundamental frame towards a spectrum of the style´s, that we can respectfully continue to articulate for the sake to include better human communication on the aspect of seeing distinctiveness, not that style´s stands in a capital value program between something “high” or “low.” Instead, we can now start to collaborate in shaping and building these potential tools as A Digital Style Dictionary and A Digital Visual Compass in sharing a more human-centric spectrum of styles to push the human evolution of knowledge further. Style Styles Shades of Styles Digital Style Design Theory Semiotic Theory Semiotics Semantics Seethics Design Inclusion User Experience Design Cultural Analytics Visual Worlds Art Historical Writing Digital Art History Visual Studies Visual Literacy Human Communication Digital Style Dictionary Digital Visual Compass Spectrum Reality Multi Realities Core Reality Abstract Reality Surreal Reality Artifical Reality Phenomenolgy Moral Ethics Labels Critical Terms Aspects of Seeing Representation Transpace Style Swisch Style Medium RAW Image Artifical Intelligence AI Visual Exploration Humankind Fundamentals Bias Gizmos Hyperreality Mythologies Sterotyping Discrimination Stories of Art Synesthesia Post-truth Fake Photo Creativity Art Direction Editing Advertising Manipulation Marketing Animation Photography Film Ilustration Graphic Design Arcitecture Color Icon Beauty Human Commonality Respect Diversity Art History Konstvetenskap Visual Arts Bildkonst

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