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Fabula rasa
No full textDiplomski rad Fabula rasa je šestominutni, kratkometražni, animirani film izrađen u tehnici digitalne animacije. Za izradu ovog filma koristit će se digitalna, 2D, frame-by-frame animacija. Film je inspiriran izrazom, tj. teorijom iz filozofije i psihologije- tabula rasa. Psiholozi su se pitali rađamo li se s mozgom koji je poput praznog papira kojeg ispunjamo tijekom života. Kroz lika koji nastaje u loncu, film istražuje emocije koje nas prate dok se upoznajemo sa svijetom, novim iskustvima i ljudima te na koji način ista ta iskustva djeluju na nas. Također istražuje na koji način jedno iskustvo djeluje na drugo - osjećaj znatiželje, straha, nesigurnosti. Dio filma je također, više stilski nego pričom, inspiriran Primordial soup teorijom. Zbog toga se radnja odvija u loncu, ili metaforičkom, osobnom tj. unutarnjem svijetu, ili maternici, mjestu gdje se razvijamo. Svijet u filmu se dijeli na ono što se događa unutar lonca (unutar nas) i onog što se događa van lonca (vanjski utjecaj na nas).Graduation thesis Fabula rasa is a six-minute, short, animated film made using digital animation. Digital, 2D, frame-by-frame animation will be used to create this film. The film is inspired by an expression, i.e. a theory from philosophy and psychology - tabula rasa. Psychologists have wondered if we are born with a brain like a blank sheet of paper that we fill in throughout our lives. Through a character created in a pot, the film explores the emotions accompanying us as we get to know the world, new experiences, and people, and how these experiences affect us. It also explores how one experience affects another - feelings such as curiosity, fear, and uncertainty. Part of the film is also, more stylistically than story-wise, inspired by the Primordial soup theory. This is why the action takes place in a pot, or the metaphorical, personal, i.e. inner world, or the womb, a place where we develop. The world in the film is divided into what happens inside the pot (within us) and what happens outside the pot (external influence on us)
Fabula rasa
No full textDiplomski rad Fabula rasa je šestominutni, kratkometražni, animirani film izrađen u tehnici digitalne animacije. Za izradu ovog filma koristit će se digitalna, 2D, frame-by-frame animacija. Film je inspiriran izrazom, tj. teorijom iz filozofije i psihologije- tabula rasa. Psiholozi su se pitali rađamo li se s mozgom koji je poput praznog papira kojeg ispunjamo tijekom života. Kroz lika koji nastaje u loncu, film istražuje emocije koje nas prate dok se upoznajemo sa svijetom, novim iskustvima i ljudima te na koji način ista ta iskustva djeluju na nas. Također istražuje na koji način jedno iskustvo djeluje na drugo - osjećaj znatiželje, straha, nesigurnosti. Dio filma je također, više stilski nego pričom, inspiriran Primordial soup teorijom. Zbog toga se radnja odvija u loncu, ili metaforičkom, osobnom tj. unutarnjem svijetu, ili maternici, mjestu gdje se razvijamo. Svijet u filmu se dijeli na ono što se događa unutar lonca (unutar nas) i onog što se događa van lonca (vanjski utjecaj na nas).Graduation thesis Fabula rasa is a six-minute, short, animated film made using digital animation. Digital, 2D, frame-by-frame animation will be used to create this film. The film is inspired by an expression, i.e. a theory from philosophy and psychology - tabula rasa. Psychologists have wondered if we are born with a brain like a blank sheet of paper that we fill in throughout our lives. Through a character created in a pot, the film explores the emotions accompanying us as we get to know the world, new experiences, and people, and how these experiences affect us. It also explores how one experience affects another - feelings such as curiosity, fear, and uncertainty. Part of the film is also, more stylistically than story-wise, inspired by the Primordial soup theory. This is why the action takes place in a pot, or the metaphorical, personal, i.e. inner world, or the womb, a place where we develop. The world in the film is divided into what happens inside the pot (within us) and what happens outside the pot (external influence on us)
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
Fabula rasa
No full textDiplomski rad Fabula rasa je šestominutni, kratkometražni, animirani film izrađen u tehnici digitalne animacije. Za izradu ovog filma koristit će se digitalna, 2D, frame-by-frame animacija. Film je inspiriran izrazom, tj. teorijom iz filozofije i psihologije- tabula rasa. Psiholozi su se pitali rađamo li se s mozgom koji je poput praznog papira kojeg ispunjamo tijekom života. Kroz lika koji nastaje u loncu, film istražuje emocije koje nas prate dok se upoznajemo sa svijetom, novim iskustvima i ljudima te na koji način ista ta iskustva djeluju na nas. Također istražuje na koji način jedno iskustvo djeluje na drugo - osjećaj znatiželje, straha, nesigurnosti. Dio filma je također, više stilski nego pričom, inspiriran Primordial soup teorijom. Zbog toga se radnja odvija u loncu, ili metaforičkom, osobnom tj. unutarnjem svijetu, ili maternici, mjestu gdje se razvijamo. Svijet u filmu se dijeli na ono što se događa unutar lonca (unutar nas) i onog što se događa van lonca (vanjski utjecaj na nas).Graduation thesis Fabula rasa is a six-minute, short, animated film made using digital animation. Digital, 2D, frame-by-frame animation will be used to create this film. The film is inspired by an expression, i.e. a theory from philosophy and psychology - tabula rasa. Psychologists have wondered if we are born with a brain like a blank sheet of paper that we fill in throughout our lives. Through a character created in a pot, the film explores the emotions accompanying us as we get to know the world, new experiences, and people, and how these experiences affect us. It also explores how one experience affects another - feelings such as curiosity, fear, and uncertainty. Part of the film is also, more stylistically than story-wise, inspired by the Primordial soup theory. This is why the action takes place in a pot, or the metaphorical, personal, i.e. inner world, or the womb, a place where we develop. The world in the film is divided into what happens inside the pot (within us) and what happens outside the pot (external influence on us)
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
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