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Simon Taylor

Simon Taylor

https://orcid.org/0009-0008-6687-4647

moving image: theory | context: lecture 7

moving image: theory | context: lecture 7

We started our story of modulation, how a mode of form becomes what it is, with the example of the Lumière brothers’ Le repas de bébé. Part, perhaps not the most important part of the programme of cinema, motion writing, shown on 28 December 1895 at the Salon Indien, Grand

lectures on moving image: theory | context

lectures on moving image: theory | context

Below please find links to a series of lectures I delivered to first-year students, before they specialised in digital image-making, film, motion graphics, VFX (very popular), game development (also very popular), animation or post-production, in 2022 at (although, since during COVID-19, distantly) AUT. Bergson, Deleuze & Cinema, comes out of

moving image: theory | context: lecture 6

moving image: theory | context: lecture 6

I want to do two things here. I want to ask what drives narrative? And I want to bring in this idea of modulation. What is it? And what is it that it is our topic today? I have some idea. I have some idea that the two questions are

moving image: theory | context: lecture 5

moving image: theory | context: lecture 5

Welcome! ... The Hero’s Journey. Is this the student’s journey? The academic journey you are at the start of? Is the hero’s journey the student’s journey? No. Because we each have our own brand of heroism, right? ... Weirdly, it is kind of my academic journey. I finished

moving image: theory | context: lecture 4

moving image: theory | context: lecture 4

The gap in which there’s a thought. And a character who thinks it. And to the character belongs a world. Without the character no world. And no structure. We learnt in the first lecture that structure follows from the terms that actualise it. So, in a way, we are

moving image: theory | context: lecture 3

moving image: theory | context: lecture 3

The motoric aspect of film is not so apparent in its digital form, but is there more than ever in its contents. Movement is everywhere, even when it is not motorised. So by motoric we mean the usually electric motors that used to turn the spools of film. In the

moving image: theory | context: lecture 2

moving image: theory | context: lecture 2

Last week we covered how moving images think. A moving image sequence is either a simple or a complex thought. A bone turns into a spaceship is either a simple or a complex thought, because this is what the cut does, it is a movement cut that leads us to