A simple method for digital mixing of real and CG moving image sequences

Author(s):  
Y. Nakazawa
2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Jyoti Mistry

This paper considers what decolonizing film education might mean through a series of research initiatives undertaken across different cultures which explore social media platforms for creating moving image sequences. The paper attends to three factors in the current climate of education: the accessibility of the medium, its immediacy in dissemination, and the democratizing effect that these conditions have had on the medium of film. Working with these three conditions in contemporary film education, the case studies described include workshops that aimed to shift the curriculum from film canons to proposing the introduction of concepts. Furthermore, elided histories are explored through site-specific projects that show how decolonial processes allow these histories to be reclaimed in film practice, and for marginal subjectivities to be made visible. Finally, the proposal of decolonial processes seeks to work with creating opportunities for social and historical visibilities. The proposition is to work with film(ed) evidence as material connected to broader social justice issues that are expressed through aesthetic forms closely associated with decolonial processes and described as decolonial aesthesis.


CONTENTS PLUS ◽  
2015 ◽  
Vol 13 (2) ◽  
pp. 21-33
Author(s):  
Taejin Kim ◽  
Keyword(s):  

IEEE Access ◽  
2020 ◽  
Vol 8 ◽  
pp. 147148-147161
Author(s):  
Pengwei Song ◽  
Hongyu Si ◽  
Hua Zhou ◽  
Rui Yuan ◽  
Enqing Chen ◽  
...  

CONTENTS PLUS ◽  
2015 ◽  
Vol 13 (4) ◽  
pp. 75-92
Author(s):  
Taejin Kim ◽  
Keyword(s):  

Leonardo ◽  
2019 ◽  
Vol 52 (5) ◽  
pp. 455-460
Author(s):  
Hector Rodriguez

This article introduces a computational model of the temporal experience of moving image sequences. The heart of the model, the concept of an entropic envelope, is based on information theoretic ideas. The concept is first described informally and then explained in a more mathematically precise manner. The article finally concludes with tentative reflections on the methodology of computation model building in cinema studies.


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