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moving image: theory | context: lecture 9

moving image: theory | context: lecture 9

VFX is the art of contingency. We have been considering the time of contingency. For the mise-en-scѐne time is the condition of a character’s embeddedness in a time of contingency, where anything can happen, which, for us the viewer, is the time of historicity. Our first concept. We look

moving image: theory | context: lecture 8

moving image: theory | context: lecture 8

With gaming it feels like we take a step back... from the multimodality John A. Bateman attributes to digital media. Bateman’s research engages multimodality in representation. We are interested in multimodality in expression. So our definitions, in particular our definition of what constitutes a mode, differ. Bateman finds the

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

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