{"id":349,"date":"2021-10-18T14:01:19","date_gmt":"2021-10-18T13:01:19","guid":{"rendered":"http:\/\/avimationyear1.myblog.arts.ac.uk\/?p=349"},"modified":"2021-10-18T14:01:20","modified_gmt":"2021-10-18T13:01:20","slug":"informed-practise-2","status":"publish","type":"post","link":"https:\/\/avimationyear1.myblog.arts.ac.uk\/?p=349","title":{"rendered":"INFORMED PRACTISE 2"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\"><strong>1_Theory and Practise in Context<\/strong><\/h1>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>&#8220;Most of t he ideas advanced (in film studies) have been suggested by people without any knowledge og how is actually put together&#8230; aftr seeing one or two projections of the films considered&#8221; <\/p><cite>&#8211; Barry Salt, 1974<\/cite><\/blockquote>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>&#8220;The split btween theory and practice in the study of cinema reults in a ludicrous situation: students in cinema studies lack the practical experience (needed to understand) the specificities of the medium, and students in film production are deprived of the theoretical\/historical background which is crucial to their development.&#8221;<\/p><cite> &#8211; Vlada Petric, 1976<\/cite><\/blockquote>\n\n\n\n<p><\/p>\n\n\n\n<p>REALISM &#8211; the assumption that cinema is able to render a realistic representation of the world &#8220;life as it happens&#8221; &#8211; a new level of objectively viewing the world.<\/p>\n\n\n\n<p>FORMALISM &#8211; assumption you unable to record reality as it is, such a limitation defines the artistic practice, constructivist approach &#8211; new way of subjectively expressing the human experience.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">FILM THEORY<\/h2>\n\n\n\n<p><a href=\"https:\/\/routledgetextbooks.com\/textbooks\/9781138824300\/default.php\">https:\/\/routledgetextbooks.com\/textbooks\/9781138824300\/default.php<\/a><\/p>\n\n\n\n<p>CINEMA AS &#8230;   <a rel=\"noreferrer noopener\" href=\"https:\/\/vimeo.com\/user32085195\" target=\"_blank\">https:\/\/vimeo.com\/user32085195<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Animation enables me to give magical powers to things. In my films, I move objects, real objects. Suddenly everyday contact with things which people are used to acquires a new dimension and in this way casts doubt over reality. In other words, I use animation as a means of subversion.     &#8211; Jan Svanlmajer, 1992<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>CREATE YOUR OWN THEORY OF ANIMATION<\/strong><\/h2>\n\n\n\n<h2 class=\"wp-block-heading\">Additional research topics:<\/h2>\n\n\n\n<ul class=\"wp-block-list\"><li>Glene Keane &#8220;Acting for Animatiors&#8221; how animators give shape to emotion<\/li><li>&#8220;The street of crocodiles&#8221;<\/li><li>&#8220;Waking life&#8221; 2001<\/li><li>&#8220;Waltz with Bashir&#8221; 2008<\/li><\/ul>\n\n\n\n<h1 class=\"wp-block-heading\"><strong>2_Rotoscoping and the Animated Documentary<\/strong><\/h1>\n\n\n\n<ul class=\"wp-block-list\"><li>Animated documentary  &#8211; does such a thing exist?<\/li><li>Why is the merragee of animation and documentary such an odd union?<\/li><li>Why do questions of realism in animation appear to be a provocation?<\/li><li>Wha can animation &#8216;do better&#8217; than conventional documentary\/live-action ways of telling and showing?<\/li><\/ul>\n\n\n\n<p>DOCUMENTARY &#8211; &#8216;dependant on the specificity of its image for authenticity&#8217; &#8211;  <em>Blurred Boundaries<\/em>, Bill Nichols, 1994<\/p>\n\n\n\n<p>ANIMATION is not the art of drawings that move but the art of movements that are drawn; What happens between each frame is much more important than what exists on each frame; Animation is therefore the art of manipulating the invisible interstices that lie between the frames.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>ANIMATED DOCUMENTARY<\/strong>:<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>has been recorded or created frame-by-frame<\/li><li>is about the world rather than a world wholly imagined by the creator<\/li><li>has been presented as a documentary by its producers and\/or recieved as a documentary by audiences, festivals or critics.<\/li><\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Rotoscoping Technique<\/strong><\/h2>\n\n\n\n<p>Invented by the <strong>Fleischer Brothers<\/strong> in 1917.<\/p>\n\n\n\n<p>An animation technique in which<strong> animators trace over footage, frame<\/strong> <strong>by frame<\/strong>, capturing <strong>fluid <\/strong>and<strong> lifelike motion<\/strong>.<\/p>\n\n\n\n<p>Originally, recorded live-action film images were projected onto a frosted glass panel and re-drawn by an animator. This projection equipment is called a<strong> rotoscope<\/strong>.<\/p>\n\n\n\n<p>Rotoscoping has largely been <strong>replaced by computers<\/strong> especially in the form of <strong>motion capture<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>1_Theory and Practise in Context &#8220;Most of t he ideas advanced (in film studies) have been suggested by people without any knowledge og how is actually put together&#8230; aftr seeing one or two projections of the films considered&#8221; &#8211; Barry Salt, 1974 &#8220;The split btween theory and practice in the study of cinema reults in &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/avimationyear1.myblog.arts.ac.uk\/?p=349\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;INFORMED PRACTISE 2&#8221;<\/span><\/a><\/p>\n","protected":false},"author":41789,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"class_list":["post-349","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/349","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=\/wp\/v2\/users\/41789"}],"replies":[{"embeddable":true,"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=349"}],"version-history":[{"count":0,"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/349\/revisions"}],"wp:attachment":[{"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=349"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=349"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/avimationyear1.myblog.arts.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}