The purpose of this study was to evaluate the importance of time-matching separate cine camera views in three-dimensional motion studies and to develop analytical methods to accomplish the time matching. An image space was calibrated using twenty-four control points and motion picture films at about 60 frames per second were taken of a moving bar, and of a subject putting a shot. Combinations of correctly and incorrectly matched views were compared for their accuracy in determining the positions of six object points. An algorithm was derived which included the timing variable in the least squares solution for the X, Y, and Z coordinates. These "best fit" solutions for the timing and for the coordinate locations were compared with criterion values. Alterations in the timing of views tended to introduce a bias into the coordinate locations. The magnitude of the bias was a function of the velocity of the object points and of the camera positioning. To keep final coordinate errors below 5% required the two views to be matched to within 0.008 seconds. The time matching algorithm was able to match the views to within 0.005 seconds. The corresponding coordinates could vary by an average of 2.4% from the correct ones. It was concluded that the analytical time matching algorithm could produce acceptable results if extreme accuracy was not required. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

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<p> The historical co-arising of cinema and depth psychology at the end of the nineteenth century has received little attention in academic discourse. While the psychoanalytic theory of Freud has been applied both to the analysis of cinema as technological apparatus and to the interpretation of individual films, the analytical psychology of Jung also has been applied to cinema and depth psychology as phenomena which emerged in response to specific historical considerations. Two such considerations associated with modernity are the decline of spiritual or religious meaning in the lives of individuals and the related alienation of individuals and societies from nature. </p><p> This theoretical dissertation explores several ways in which cinema and depth psychology reconnect individuals and collectives with a meaningful embodied existence. In the process the dissertation argues that a metaphorical return to Plato's allegorical cave is underway. If Plato's cave signifies a state of unconsciousness which individuals must leave for enlightenment, then the cinema-as-cave and therapist's office-as-cave facilitate a return to and re-experiencing of the energies of the unconscious. In addition to the more Platonic and post-Enlightenment light of reason, such re-experiencing relies on what alchemists refer to as the <i>lumen naturae,</i> or light of nature, and <i>sensus naturae,</i> or sense of nature. </p><p> Amplification of several images from Werner Herzog's <i>Cave of Forgotten Dreams</i> and Martin Scorsese's <i>Hugo</i> reveals a psycho-historical continuum along which ancient cave paintings and modern cinema are positioned on either side of Plato's cave. The emphasis placed on symbols, images, and metaphorical processes by Jungian and Post-Jungian film theorists demonstrates that cinema affords a reconnection to levels of the psyche more commonly and collectively experienced in antiquity. In this way, films operate as individual and collective dreams and thereby connect the cinematic dreamer to a source of wisdom different from that which dominates waking consciousness. The dissertation refers to this often spiritual or religious reconnection to different levels of the psyche as deep realism.</p>

The social internet environment has given rise to new ways of engaging and critiquing animated video. In this democratic environment, criticism is no longer exclusive to a few select recognised professional critics and there is no real distinction between professional and non-¬professional critics. The coexistence of both types of critics within the same space results in more dynamic engagement with the subject and creates the conditions for learning. Developments in technology which include cellular phones in particular but also include other devices such as tablets have allowed viewers and potential critics to access online video from any location, broadening accessibility and the scope for critical engagements. New online tools and increased internet connectivity have resulted in an explosion of animated video and critics of all kinds are needed to cater to the growing demand for criticism. This suggests that greater significance needs to be placed on self-proclaimed critics and other opinionated users of the web. This paper sets out to examine and assess the value in criticism by the new expanded audience of non¬‐professional critics. It explores interactive social tools in detail, including blogs, twitter and particularly video‐based websites to understand the manner in which they affect the reception of animated videos as well as the subsequent criticism of these videos. The main question to be addressed is whether or not valuable and relevant criticism can be accessed from various online social platforms attached to newly accessible sources for animation.

A Research Report submitted in partial fulfillment of the requirement for the Degree of Masters of Arts in Digital Animation at the University of the Witwatersrand (Wits School of Art) Johannesburg, South Africa 12 October 2015 / This research report aims to encourage the research, development and production of interactive educational animated series in southern Africa such as the highly successful US series Dora the Explorer, specifically to teach southern African languages. Over the years mediums of imparting knowledge to children have changed rapidly (mainly due to ever-evolving technology), but the fact that children learn best when they are having fun has remained constant. Animation has been a leader in children’s entertainment as it has the power of expanding their imaginations and at the same time captures their attention. Animated series such as Dora the Explorer and Blues Clues have been popular with preschool children and impart valuable lessons. Dora the Explorer in particular helps children learn Spanish as a second language. The research takes a look at how children acquire a second language and how animation can aid the process of learning. Various theories on how children learn reveal the link between language, age and play. It is revealed that during production, careful consideration of content is required for educational animation to be an effective learning aid. This leads to the discovery of Richard Mayer’s principles that are recommended to be considered when creating effective educational animation. Included is a comparative analysis of the development processes of successful US children’s educational animated series to similar southern African productions. The research aims to inform the possible creation of an educational interactive animated series to enhance second language development for preschool children.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / by John Chittick. / M.S.V.S.

Animé, a style of Japanese animation, has begun to evolve into more than a simple animation. The stories found in animé have reached a level of complexity similar to traditional cinema. However, lighting in animé, has been minimal. Using computers to create animé, rather than creating it traditionally by hand, has allowed greater opportunities to be creative with lighting. Color and computer-generated (CG) effects can be integrated with traditional line drawings to create beautiful images in animé. Since cinematic lighting exhibits some of the finest examples of lighting, this thesis will analyze lighting styles from three different cinematographers and adapt them to three anim??e style scenes in 3D. The scenes will be modeled, lit, and rendered using Alias/Wavefront MAYATM, and textured using Adobe PhotoshopTM. The result will be a visual CG piece that adapts the lighting style of certain distinctive cinematographers, while retaining the look of animé.

<p> This dissertation problematizes the notion of textuality. Textuality is a virtual object, which each text production actualizes. </p><p> The problem can be formulated as follows: How can one read textuality through one or several text(s)? How can one perceive more than a simple fixed object and appreciate problems that a writer encounters during the process of writing, when the text was still being elaborated, in a battle with virtualities? </p><p> Starting from recent statements of Todorov on how non-fictional texts can be considered as literature, I examine the development of the concept of literarity from the 1960&rsquo;s in France. I examine three conceptions of the text: as a structure that highlights its own materiality (with Ricardou); as a production undermining the structuralist dichotomy between signifier and signified (with Barthes); as an artwork (with Ricoeur, and Genette). </p><p> Henceforth, I articulate four theoretical problems, giving access to the following conclusions: - Texture is readable in a different way than the search for a meaning. - The world as a text and the world of the text entail two distinct conceptions; texts built as mirrors of themselves change and improve our understanding of textuality. - Reading should not be conceived as totally predetermined by writing and by the author&rsquo;s mastership. - Reading can be conceived as a virtualization (and not just an actualization) of the text. Virtualization is a &ldquo;rise&rdquo; from an actuality (such text) towards the problematic field where it emerged. </p><p> Those conclusions are supported by comparative studies and analyses of specific works: Mallarm&eacute;&rsquo;s poems and especially <i>Un coup de d&eacute;s</i>&hellip;, the relationship between some of his works and Edgar Allan Poe&rsquo;s, Godard&rsquo;s filmography as opposed to Bresson&rsquo;s, Ponge&rsquo;s poems in comparison with an poetical essay by Le Cl&eacute;zio, a play by Sarraute in the light of a text co-authored by Derrida and Leiris. </p>

Architectural representation is much more than a process of transcription between a concept and the building; it is a tool that determines the very mentality and praxis of the architect. This thesis studies the technique of film montage through the work of Andrei Tarkovsky and the possibilities it offers to the process of architectural conception. A general outline of the development of the perspective tools of representation in architecture lead to an understanding of the significance of the cinematographic image in the context of the history of projection. Montage in the tradition of Surrealism placed an emphasis on the potential power of poetic evocation between its elements. Comparing the narrative forms of three film-makers, the "surrealist montage" of Luis Bunuel, the "intellectual montage" of Sergie Eisenstein, and the temporal modulation in the films of Tarkovsky, this thesis examines different ways to qualify cinematographic space which affect the spatial and temporal experience of the spectator and offer the possibility of a redefinition of ritual in architecture.

<p> Film d'Art, the French production company responsible for the development of Henri Lav&eacute;dan's <i>L'Assassinat du Duc de Guise</i> (1908), demonstrated a forward-thinking vision for film and music. Through their innovations, the company combined many elements of cinematography with new standards for quality productions. This project report will investigate the goals of Film d'Art and its unusually high ambitions, standard music practices in the silent film era, the issues revolving around the instrumentation to Saint-Sa&euml;ns' score to Henri Lav&eacute;dan's<i> L'Assassinat de Duc de Guise</i> (1908), and the performance of my arrangement in a graduate recital.</p>