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Ficciones constructoras de realidad : el cine de animación documental
Full text linkEsta tesis doctoral pretende elaborar una aproximación a la producción de obras cinematográficas que se encuentran entre los géneros documental, por su contenido, y de animación, por su forma. La evolución en la producción cinematográfica que ha desembocado en la animación documental se fundamenta en la concepción del Cine como Arte, negocio y espectáculo. El objetivo principal de esta tesis es establecer una definición concreta de animación documental y de sus características, válidas para la comprensión individual y colectiva de la producción cinematográfica en este ámbito. Se pretende unificar y presentar la evolución de los géneros que anticipan la génesis de la animación documental. Esta tesis analiza cincuenta y dos obras de animación documental a través de las características morfológicas de construcción del cine documental y sus elementos pro fílmicos mediante un examen de su contexto de producción, características técnicas y de lenguaje para establecer un análisis comparativo de las obras. Esta tesis plasma los resultados mediante la experimentación artística, la producción de una obra que recoja las conclusiones de evolución e hibridación atendiendo a la interpretación de los resultados y las características técnicas analizadas. De este modo se comprueba de forma empírica la validez del análisis comparativo.
La investigación y definición de las características de estas obras es vital para comprender la evolución técnica y artística que documenta realidades a través de testimonios personales. En estas obras se combina la expresión personal, la creación artística, las últimas tecnologías, el lenguaje cinematográfico, el patrimonio cultural y la conciencia social.
El primer capítulo recoge las características de la investigación que da forma a esta tesis doctoral.
Se lleva a cabo una revisión teórica de la evolución histórica y de las características del cine como arte cinematográfico (capítulo 2), del cine documental y su horizonte creativo (capítulo 3), de los orígenes artísticos del cine de animación (capítulo 4) y de las dos grandes técnicas de animación vinculadas a la realidad, el stop motion como deconstrucción de la realidad filmada (capítulo 5) y de la rotoscopia, una forma de animación que sirve de medio para interpretar metraje fílmico (capítulo 6).
En la tercera parte se lleva a cabo la presentación de los primeros ‘documentos animados’ (capítulo 7) que se establecen como antecedentes históricos de la animación documental, además de una reflexión sobre las periferias de este género; cine de animación educativo, cine documental de animación y las tendencias del hiperrealismo en el cine de ficción actual.
En el capítulo 8 se recoge el análisis de las obras de animación documental, a través de un examen individual de conceptos técnicos y de elementos pro fílmicos presentes cada una de las obras, además del análisis morfológico comparado y una exposición e interpretación de los resultados.
En la cuarta parte se exponen las conclusiones de la investigación con una reflexión sobre la proyección del análisis comparativo y la discusión sobre posibles investigaciones futuras (capítulo 9).
Finalmente se plasma la memoria de producción del largometraje La Memoria de las Manos. Ecos del legado pedagógico de C. Freinet en Murcia (capítulo 10), dirigida y diseñada por el autor de esta tesis como resultado de las conclusiones del capítulo 9 para verificar la validez y solidez de la investigación. Este capítulo comprende el contexto de producción, el proceso de trabajo sobre la memoria para la construcción del relato a través del guión y el screenplay, una descripción de cómo se ha diseñado y realizado la producción del proyecto y un análisis morfológico de la obra, comparando los resultados individuales con los resultados globales expuestos en el capítulo anterior. El capítulo cierra con unas conclusiones sobre el proyecto. This PHD thesis pretends to elaborate an approximation to the production of cinematography works found between the documentary genre, for its content, and the animation genre for its form. The evolution in cinematographic production that has lead to documentary animation is based in the conception of Cinema as Art, business and spectacle. The main objective of this thesis is to stablish a concrete definition of documentary animation and its characteristics, suitable for the individual and collective comprehension of cinematographic production in this area. It pretends to unify and present the evolution of the genres that anticipate the genesis of documentary animation. This thesis analyses fifty two documentary animation works through their morphological characteristics for constructing documentary cinema and their pro filmic elements by means of an exam of their production context, technical and language characteristics to stablish a comparative analysis of the works. This thesis reflects the results through artistic experimentation, the production of a piece that gathers the evolution and hybridization conclusions paying attention to the interpretation of the data and the technical characteristics being analysed. The value of the comparative analysis is tested through this method.
The investigation and definition of the characteristics of this works is vital to understand the technical and artistic evolution that documents reality through personal testimony. Personal expression, artistic creation, new technology, cinematographic language, cultural patrimony and social conscience is combined in this works.
The first chapter depicts the characteristics of the investigation that forms this PHD thesis.
It consists of a theoretical revision of the historical and characteristical evolution of cinema as cinematographic art (chapter 2), of documentary cinema and its creative horizon (chapter 3), of the artistic origins of animation cinema (chapter 4) and of the two greater animation techniques linked to reality, stop motion as a deconstruction of the filmed reality (chapter 5) and rotoscopy, a form of animation used as a means to interpret film footage (chapter 6).
In the third part there is a presentation of the first “animated documents” (chapter 7) which are stablished as historical records of documentary animation, as well as a reflection on the fringes of this genre; educational animation, documentary animation and the latest trends of hyperrealism in current fiction cinema.
Chapter 8 is an analysis of the documentary animation works, through an individual exam of technical concepts and pro-filmic elements present in each of the films, plus a compared morphological analysis and an interpretation and exposition of the results.
The fourth part of the thesis exposes the conclusions of the investigation with a consideration about the importance of the comparative analysis and the discussion on possible future investigations (chapter 9).
Lastly there is a production report about the film La Memoria de las Manos. Ecos del legado pedagógico de C. Freinet en Murcia (chapter 10), directed and designed by the author of this PHD thesis as a result of the conclusions from chapter 9 to verify the validity and solidity of the investigation. This chapter includes the production context, the work process on memory to construct the story through the script and screenplay, a description of how the production was designed and realised and a morphological analysis of the work, comparing the individual results with the global results from the previous chapter. The chapter finishes with a few remarks about the project
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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