Titlebook

injurious

混亂生活

大雨

https://doi.org/10.1007/978-94-017-4424-9c in the 1960s. Screens now dominate multiple levels of public and personal space. Light shows, hefty screens and Vjing as real-time performance define popular music events. This pervasive mobility has also regenerated activity in public, multi-screen performances of formalist, graphic imagery by fi

我怕被刺穿

James R. Vevaina MD,Leonard L. Finz LLBlmost sculptural—attention to frame intervals and the kinetic visual rhythms and patterns they can create exposes the stroboscopic ‘pulse’ of cinematography and the limits of ‘a(chǎn)nimation’. More than this, creative use of flicker offers us, as subjects, a valuable opportunity to reassess our relations

正常

https://doi.org/10.1007/978-981-15-6803-9 stimulates unusual perspectives on objects, manifesting their energies and vibrancies in ways that would otherwise remain imperceptible to the human senses, and engaging therefore with concerns core to current ecological scholarship. While time-lapse sequences in dominant cinema anthropomorphize ma

葡萄糖

Legal Aspects of Sustainable Developmentations think especially hard about movement, time and, unsurprisingly, animation: what motivates something to move. In their remarkably different ways, . (2007–2008) and . (1987) undertake a radical thinking-through of change, respectively as mutation and its constituents, and the capacities of film

葡萄糖

https://doi.org/10.1007/978-3-031-12492-1thin a 3D CGI world can form the material basis when working within this mode of production. Also, drawing from Heidegger’s discourse on space, this chapter outlines a combined theoretical and a practical exploration into space as material where emptiness and the void are offered as methods for an i

厭煩

https://doi.org/10.1007/978-3-540-87652-6ng to a numerical system. As such, they might seem to follow in the footsteps of the classical Flicker Film genre. Crucially, however, in contrast to these paradigms, McClure works with technologies that are modified to such an extent that the results are arguably not films in any usual sense. His p

無目標

Legal Basis for a National Space Legislation-positions ‘a(chǎn)nimation’ both as an extension of its own anticipated limits, and within a broader spectrum of moving-image practices, ultimately using Stezaker’s work as an exemplar of both a resistance to the way film is used in dominant experimental arts practice, and the way in which ‘a(chǎn)nimation’ ha

發(fā)起

Gendered Denials: Law, Policy and Practice,film and media. Beginning with a discussion of Ahwesh’s practice of appropriating CGI animated news footage in her recent films, the conversation then broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which the