Thesis. 1976. M.Arch--Massachusetts Institute of Technology. Dept. of Architecture. / Microfiche copy available in Archives and Rotch. / Bibliography: leaves 27-28. / M.Arch

Thesis. 1977. M.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Ross Simonton McElwee, III. / M.S.

Orientador: Pelópidas Cypriano de Oliveira / Banca: Luiz Guimarães Monforte / Banca: Rubens Eduardo Monteiro de Toledo / Acompanha DVD com animações / Resumo: Na história do cinema a técnica do stop motion, também conhecido como animação por deslocamento, dificultava a padronização que a indústria impunha como regra, assim, foram praticamente eliminadas dos grandes circuitos e prosseguiram pela produção de artistas independentes que podiam experimentar técnicas e estilos, sem a necessidade da criação de rígidos conjuntos de regras de produção e sem ficarem presos à linguagem cinematográfica criada. A proposta desta pesquisa é entrar no universo dos animadores que criaram uma linguagem independente da usada nas animações de grande massa, trazendo para a atualidade a prática do stop motion como técnica artesanal de animação. Como prática produzimos e realizamos cinco curtíssimas, sendo os processos e procedimentos mais relevantes do que as obras em si, porque neles encontramos a construção do pensamento que os tornaram possíveis, ilustrando a diferença entre aquilo que se concretiza como filme e o seu projeto idealizado / Abstract: In the history of movie making, the stop motion technique - also known as animation by displacement - hindered the pattern imposed by the industry as a rule, therefore it was practically eliminated from the big circuits and its production continued only by the efforts of independent artists who were able to experiment techniques and styles without following a rigid set of production rules, being free to explore the cinematographic language. This research intends to enter the universe of the animators who created an independent language from those used in the industrial circuits, bringing the current practice of stop motion as a craft technique and labelling the animation as a cinematographic and artistic practice. The stop motion as a creative reflection of how it would be possible to give thoughts new meanings of expression by the observation and description of the whole creative process / Mestre

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 65. / by Michael Naimark. / M.S.V.S.

Notes on Solace is a reflection on my process as a director. In this writing I am tracing back all my inspirations from film, stage, and lived visual and sonic landscapes.

The thesis, entitled Penser l'écran sonore : les théories du film parlant ( Thinking the sound screen : theories of the talking film ) aims to provide at once a survey and critique of such theories as have explicitly addressed themselves to film conceived of in its essence as a carrier of acoustically produced meaning. This position would seem to be the merest commonplace, however, review of the literature will show that the study of the cinematic sound object as such was hardly carried out in any systematic manner before the 1980s and the groundbreaking work of Rick Altman, Michel Chion, and Claudia Gorbman. Perhaps the most simple manner of illustrating previous theoretical approaches to this topos would be to indicate the " polar " extremes which mark the limits of the discursive space within which their coverage is inscribed - pessimism and mourning for the silents ( Balász ), dizzying mysticism ( Eisenstein ), Marxian ideological analysis ( Adorno and Eisler ), and various practical suggestions for filmmakers of the type proposed by Reisz and Spottiswoode. The thesis is divided into three along the familiar lines of sound qua sound - concerning that which is valid for all types of sound in the cinema - the voice in cinema, and cinema music. The main approaches to these objects can be similarly broadly characterised as semiological, second - wave semiological, ( i.e. semiology plus psychoanalysis ), cognitivist, and technopragmatic. The intention is to interrogate the merits and the defaults of these approaches by applying them to a range of problematics arising in the three areas listed above. It would of course be ideal if all approaches were to deal with identical questions, however, the internal dynamics of the various methodologies evidently privilege the framing of one question over another : in my opinion this presents its own interest, as the questions which can ( and, perhaps more importantly, cannot ) be posed within a given discursive structure are most revealing of the theoretical framework itself. The importance of cinema sound considered as representation rather than as simple transcription is insisted upon throughout. The limits of multichannelling are established as not greatly extending those already established by stereo. The practice of direct sound - of sound recorded on location or on set in real time - is found to have a distinctly theological dimension. The notion of subjective time as it is experienced by the spectator in the cinema is examined at length. A prominent feminist model of the functioning of sound in the cinema is found to be most unsteady. Finally, an aesthetic of the sound film which utilises the potential of the medium to the highest degree is proposed. A consideration of the lacunae in the field - which remain possibilities for further study - and an extensive bibliography complete the survey. / Thesis (Ph.D.)--School of Humanities, 2006.

Thesis (M.A.)--York University, 2008. Graduate Programme in Translation. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45933

This thesis demonstrates the effects of applying lighting principles developed for 3D computer graphics production to well-known historical 2D paintings. The visual analysis and cinematographic direction is derived from the iterative review-critique- review process used in production of 3D animated films and the imposition of a narrative purpose for re-lighting. This thesis focuses on five of the important fundamentals of lighting design, adapted and defined by Pixar Animation Studios Director of Photography Sharon Calahan in “Storytelling Through Lighting: A Computer Graphics Perspective.” The results are 2D images that are easily recognizable as adaptations from the original paintings, but that communicate a distinctly different visual impression. Each re-lit painting serves as an example of the lighting principle employed and offers a unique viewpoint on a well-known artwork.

The thesis, entitled Penser l'écran sonore : les théories du film parlant ( Thinking the sound screen : theories of the talking film ) aims to provide at once a survey and critique of such theories as have explicitly addressed themselves to film conceived of in its essence as a carrier of acoustically produced meaning. This position would seem to be the merest commonplace, however, review of the literature will show that the study of the cinematic sound object as such was hardly carried out in any systematic manner before the 1980s and the groundbreaking work of Rick Altman, Michel Chion, and Claudia Gorbman. Perhaps the most simple manner of illustrating previous theoretical approaches to this topos would be to indicate the " polar " extremes which mark the limits of the discursive space within which their coverage is inscribed - pessimism and mourning for the silents ( Balász ), dizzying mysticism ( Eisenstein ), Marxian ideological analysis ( Adorno and Eisler ), and various practical suggestions for filmmakers of the type proposed by Reisz and Spottiswoode. The thesis is divided into three along the familiar lines of sound qua sound - concerning that which is valid for all types of sound in the cinema - the voice in cinema, and cinema music. The main approaches to these objects can be similarly broadly characterised as semiological, second - wave semiological, ( i.e. semiology plus psychoanalysis ), cognitivist, and technopragmatic. The intention is to interrogate the merits and the defaults of these approaches by applying them to a range of problematics arising in the three areas listed above. It would of course be ideal if all approaches were to deal with identical questions, however, the internal dynamics of the various methodologies evidently privilege the framing of one question over another : in my opinion this presents its own interest, as the questions which can ( and, perhaps more importantly, cannot ) be posed within a given discursive structure are most revealing of the theoretical framework itself. The importance of cinema sound considered as representation rather than as simple transcription is insisted upon throughout. The limits of multichannelling are established as not greatly extending those already established by stereo. The practice of direct sound - of sound recorded on location or on set in real time - is found to have a distinctly theological dimension. The notion of subjective time as it is experienced by the spectator in the cinema is examined at length. A prominent feminist model of the functioning of sound in the cinema is found to be most unsteady. Finally, an aesthetic of the sound film which utilises the potential of the medium to the highest degree is proposed. A consideration of the lacunae in the field - which remain possibilities for further study - and an extensive bibliography complete the survey. / Thesis (Ph.D.)--School of Humanities, 2006.

Thesis (MFA)--Rochester Institute of Technology, 1989. / "Based on 'Harold's Circus' by Crockett Johnson." Includes bibliographical references (leaves 53-55).