Virtually everyone working in dance today uses electronic media technology. Envisioning Dance on Film and Video chronicles this 100-year history and gives readers new insight on how dance creatively exploits the art and craft of film and video. In fifty-three essays, choreographers, filmmakers, critics and collaborating artists explore all aspects of the process of rendering a three-dimensional art form in two-dimensional electronic media. Many of these essays are illustrated by ninety-three photographs and a two-hour DVD (40 video excerpts). A project of UCLA – Center for Intercultural Performance, made possible through The Pew Charitable Trusts (www.wac.ucla.edu/cip).
This edition provides a detailed look at the artistic and aesthetic principles and practices of editing for both picture and sound. It also contains up-to-date information on the influences of MTV and commercials, and new technologies.
Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.
"In 2003, an independent film called The room ... made its disastrous debut in Los Angeles. Described by one reviewer as 'like getting stabbed in the head,' the six-million-dollar film earned a grand total of $1800 at the box office and closed after two weeks. Ten years later, The room is an international cult phenomenon ... In [this book], actor Greg Sestero, Tommy's costar and longtime best friend, recounts the film's long, strange journey to infamy, unraveling mysteries for fans ... as well as the question that plagues the uninitiated: how the hell did a movie this awful ever get made?"--
Producing and Directing the Short Film and Video is the definitive book on the subject for beginning filmmakers and students. The book clearly illustrates all of the steps involved in preproduction, production, postproduction, and distribution. Its unique two-fold approach looks at filmmaking from the perspectives of both producer and director, and explains how their separate energies must combine to create a successful short film or video, from script to final product. This guide offers extensive examples from award-winning shorts and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. The companion website contains useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations.
Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse. In this revised and updated edition, Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from Cézanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts. The new edition includes a review of current scholarship in avant-garde film history and includes updated reading and viewing lists. It also features a new introduction and concluding chapter, which assess the rise of video projection in the gallery since the millennium, and describe new work by the latest generation of experimental film-makers. The new edition is richly illustrated with images of the art works discussed.
This practical, hands-on guide addresses the problems and difficult choices that professional compositors face on a daily basis. You are presented with tips, techniques, and solutions for dealing with badly shot elements, color artifacts, mismatched lighting and other commonly-faced compositing obstacles. Practical, in-depth lessons are featured for bluescreen matte extraction, despill operations, compositing operations, as well as color-correction. The book is presented entirely in an application-agnostic manner, allowing you to apply lessons learned to your compositing regardless of the software application you are using. The DVD contains before and after examples as well as exercise files for you to refine your own techniques on. New to the 3rd edition is an entirely new chapter entitled 'CGI Compositing Techniques', covering how the modern CGI production pipeline is now pushing many tasks that used to be done in the 3D department into the compositing department. All technological changes that have occurred between now and the publication of the 2nd edition are covered, as well as new media on the DVD and corresponding lessons within the book.
A timeless classic with more than 165,000 copies sold, The Bare Bones Camera Course for Film and Video has been chosen by over 700 colleges to teach basic film and video techniques. Written by a working professional, The Bare Bones Camera Course is the most user-friendly book available on the subject of film and video production; it reduces the shooting experience to its essence, making complicated concepts easy to grasp. Using simple clear language and more than 150 illustrations, the book explains: Exposure Lenses Composition Basic sequence Crossing the line Lighting And much more! When you finish this book, you will know and understand how to shoot good pictures that will edit together seamlessly in post-production. With added chapters on sound and editing, this new edition of The Bare Bones Camera Course for Film and Video rounds out the education of any filmmaker. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
The all-time classic picture book, from generation to generation, sold somewhere in the world every 30 seconds! Have you shared it with a child or grandchild in your life? For the first time, Eric Carle’s The Very Hungry Caterpillar is now available in e-book format, perfect for storytime anywhere. As an added bonus, it includes read-aloud audio of Eric Carle reading his classic story. This fine audio production pairs perfectly with the classic story, and it makes for a fantastic new way to encounter this famous, famished caterpillar.
"Make your film and video projects sound as good as they look with this popular guide. Learn practical, timesaving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! In this fourth edition of Producing Great Sound for Film and Video, audio guru Jay Rose revises his popular text for a new generation of filmmakers. You'll find real world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair and processing, and mixing. The combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade. This new edition includes: - Insights and from-the-trenches tips from film and video professionals - Advice on how to get the best results from new equipment including DSLRs and digital recorders - Downloadable diagnostics and audio examples you can edit on your own computer - Instruction for dealing with new regulations for wireless mics and broadcast loudness - Techniques that work with any software or hardware - An expanded "How Do I Fix This?" section to help you solve problems quickly - An all new companion website (www.GreatSound.info) with audio and video tutorial files, demonstrations, and diagnostics Whether you're an aspiring filmmaker who wants rich soundtracks that entertain and move an audience, or an experienced professional looking for a reference guide, Producing Great Sound for Film and Video, Fourth Edition has the information you need"--
