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When I told her it was a book about digital visual effects, she exclaimed, вЂњOh, I hate those movies!вЂќ For her as for many people, visual effects call to mind gaudy spectacle, overstuffed blockbusters, or action adventure fantasies catering to young audiences. At a recent cinema studies conference in Los Angeles, a colleague asked me what I was working on.

As we shall see, however, вЂњspecial effectsвЂќ are more profoundly connected with cinema than conventional wisdom supposes. Again, according to conventional wisdom, вЂњspecial effectsвЂќ belong to the domain of fantasy that MГ©liГЁs helped to establish rather than to the actuality-based lineage of the LumiГЁres. The progenitors of cinema included Auguste and Louis LumiГЁre, who п¬Ѓlmed actualities, slices of life that were portraits of everyday events, and Georges MГ©liГЁs, a magician who made movies about fabulous trips to the moon or to the bottom of the sea. According to our customary way of thinking about cinema, this dichotomy in п¬Ѓlm, between the real and the fantastic, is nothing new. Indeed, common wisdom holds that вЂњspecial effectsвЂќ take movies far away from realistic characters, situations, and locations. The blue NaвЂ™vi of the planet Pandora, п¬‚ying atop giant winged beasts the diminutive Alice tumbling into a 3D wonderland a superhero in an iron suit wizards and Orcs battling for Middle-earth-in these story situations, п¬Ѓlmmakers use visual effects to open doors onto imaginary lands and characters. ixДЄvatar, Alice in Wonderland, Iron Man, The Lord of the Rings-these are the kinds of movies that people think of when the subject of вЂњspecial effectsвЂќ comes up. Leslie is a great editor and someone with whom it is always a pleasure to work. I thank also Leslie Mitchner, who loved the idea for the book from the start. I thank ProjectionsвЂ™ editor Ira Konigsberg for his permission to use that material here. Some of the material in chapter 1 was previously published as вЂњThrough the Looking Glass: Philosophical Toys and Digital Visual Effects,вЂќ Projections 4:2 (Winter 2010).

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Patricia Raun read chapter 3 from the standpoint of a professional actor, and she kindly took time from her schedule to give me a working actorвЂ™s perspective on performance in the digital domain and how this differs from what an actor creates and contributes in live theater. PaulвЂ™s appreciation for the interplay between aesthetics and technology was a great help to me in parsing this material. He kindly read the material on digital cinematography, corrected some gaffes, and pointed me in the right direction regarding some key topics. Paul Harrill brought a digital п¬ЃlmmakerвЂ™s perspective to chapter 2. I extend a heartfelt thanks to Joe for his invaluable assistance. JoeвЂ™s good cheer is complimented by his п¬Ѓne taste in cinema. VFX industry journalist Joe Fordham, who has written about visual effects for more than a decade in the pages of Cinefex magazine, graciously read through the manuscript and offered keen insights on digital aesthetics and the effects industry and corrected a few infelicities of expression. I thank Eric Hedling and Johannes Riis for their hospitality and to the lively audiences in Lund and Copenhagen. Speaking invitations to Lund University in Sweden and the University of Copenhagen in Denmark afforded me with additional opportunities to develop the material. I have had the opportunity and pleasure to work out some of the ideas in these pages at the 2010 conferences of the Society for Cognitive Study of the Moving Image and the Society for Cinema and Media Studies. edu Manufactured in the United States of America Typesetting: BookTypeД¬onclusion: The Pleasures of Illusion Notes The only exception to this prohibition is вЂњfair useвЂќ as deп¬Ѓned by U.

Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854вЂ“8099. Copyright В© 2012 by Stephen Prince All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the publisher.

PN1995.9.T43P75 2012 778.5'3-dc22 2011012787 A British Cataloging-in-Publication record for this book is available from the British Library. Cinematography-Technological innovations. Motion picture industry-Technological innovations. Includes bibliographical references and index. Digital visual effects in cinema : the seduction of reality / Stephen Prince. Library of Congress Cataloging-in-Publication Data Prince, Stephen. RUTGERS UNIVERSITY PRESS NEW BRUNSWICK, NEW JERSEY, AND LONDON

Acting For Animators Ed Hooks Pdf Free - Download Free Apps