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By François Penz, Brian Ashbee, Terence Wright, FranCois Penz, Maureen Thomas

The international of media construction is in a country of quick transformation. during this age of the net, interactivity and electronic broadcasting, do conventional criteria of caliber observe or needs to we establish and enforce new standards? This profile of the paintings of the Cambridge college relocating photograph Studio (CUMIS), offers a robust argument that new advancements in electronic media are completely depending on an knowing of conventional excellence. The ebook stands on my own in putting equivalent emphasis on theoretical and functional points of its material and avoids jargon for you to be simply understood through the overall reader in addition to the professional. Chapters speak about: • animation • navigable architectural environments • relocating photo narrativity • questions of fact and illustration • virtuality/reality • man made imaging • interactivity This vast research of present study, instructing and media construction includes crucial info for all these operating or learning within the components of multimedia, structure, movie and tv. The e-book is designed as a center textual content for the Cambridge college 1 yr MPhil measure in structure and the relocating Image.

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Additional resources for Converging Traditions in the Digital Moving Image: Architectures of Illusion, Images of Truth

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Duplicate real action... but to give a caricature of life and action... To picture on the screen dream fantasies... to caricature life as it is today. But we cannot do the fantastic things... unless we first know the real. Comedy, to be appreciated, must have contact with the audience... (it must be) something based on an imaginative experience or on a direct life connection. Thus the true interpretation of caricature is the exaggeration of an illusion of the actual, possible or probable. (Maltin, 1980, 35) In other words, fantasy must be founded on knowledge of the real world.

In The Hedgehog in the Fog (USSR, 1975), Norstein tells the story of a hedgehog who is on the way to visit his friend the Bear when he gets lost in the fog. Fog dissolves all spatial certainties, bringing the hedgehog into close confrontation with other creatures both real (owl, bat, horse and dog) and perhaps imagined (an elephant... ). The hedgehog is forced to rely not on the sense of sight but on the sense of touch, feeling his way by the aid of a stick. His relationship to the world is transformed : objects like a leaf or a tree become images of great beauty and power.

The Fleischers’ Snow White probably distils more anarchy and surrealistic invention into six minutes than any other of their films; it also emphasizes how disciplined Disney’s employment of fantasy was in his own Snow White, where it is never released from a precise narrative function. In the work of Disney, as in the Fleischers’, the inanimate world can suddenly come alive, as it does when the trees of the forest 28 Animation, Art and Digitality transform into monsters, and pluck at Snow White’s clothes as she flees from the huntsman/executioner; but this is not as a gratuitous invention – the animation mirrors the terror Snow White is feeling.

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