1,720,955 research outputs found
Fallen Awake
No full textPhoto from process: David Megarrity, albury 2007 - example of convergence of writing/design/perfomance/video\ud
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RESEARCH COMPONENT\ud
Fallen Awake was a practice-led research process that opened the development process to the influence of collaborative authorship across artforms. \ud
The project focused on of how multiple artforms and artists converge their vision into a singular text, in the context of collaborative authorship. The work also uncovered new questions relating to the dream-life of children.\ud
The stimulus for the work was a selection of verbal statements by three-year-olds, raising complex ethical questions as the project progressed about the child’s voice, mediated by the adult artist, for the eventual presentation to a child audience. \ud
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With the text emergent and open to influence, this project raised other questions related to the lived experience of children, dreaming, creative play and the development of consciousness. It pushed the creative process to experiment with associative, rather then causal narratives, and to negotiate the challenges this raises for traditional story structures and the development processes that usually shape them. It led to the consideration of each artforms and artist as equal contributors in the development of story: traditionally the province of the sole author.\ud
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The outcomes appeared in various artforms, none of which was live-performance based. An ‘artist’s book’ by the designer, a ‘video treatment’ - a DVD capturing the approach to the performance and a script for an innovative large-scale performance. \ud
Fallen Awake was developed with the assistance of Strut & Fret Production House, Arts Queensland, and HotHouse Theatre, Albury Wodonga, through their ‘Month in the Country’ initiative.\u
The Figures
No full textThis short film, created by David Megarrity and Luke Monsour, experimented within a short timeframe with the challenge of superimposition of hand-drawn backgrounds, non-verbal action, and a short, sharp shoot.\ud
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The aim was also to find a single piece of standalone music that would act as an unedited soundtrack \ud
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It won Best Queensland Film at the Woodford Film Festival in 2005, and was screened at Base-Court, Lausanne Switzerland in 2006, and the Westgarth Film Festival 2005.\ud
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It was acquired by comedy website minimovie in 2007
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
iPad Apps for Film Production and Film Education
No full textFilm production is a many faceted business, and the teaching of it introduces a whole range of new levels. The recent introduction of 'smart' mobile devices has already shown how much of the production process can be re-addressed more effectively and efficiently. This presentation provides an overview of currently available apps suitable for student based film and video productions, looking at the benefits of utilising an iPad in all phases of production from pre to post. Also discussed will be future applications of the mobile technology within a film education context, looking at potential ways to better connect students and teachers to the production work and the assessment outcomes.Arts, Education & Law Group, Queensland College of ArtNo Full Tex
2D TO 3D: THE INCLUSION OF 3D FILM PRODUCTION WITHIN A TRADITIONAL 2D SCREEN EDUCATION ENVIRONMENT
No full textAmong the many new digital media formats and opportunities confronting film school educators and curriculum designers is stereoscopic 3D. Vastly different to other visual realms, production of 3D content requires a unique approach to screen practice and visual design. 3D presents production students with a new way of engaging with audiences, however due to the rapid advances in the available technology outpacing filmmakers' ability to experiment and analyze the medium it is still unclear the extent to which traditional 2D production practice is relevant when creating work in 3D. Not only are the production processes more complicated and workflows more difficult to navigate when creating 3D, the notion of using a ‘space’ to present an idea rather than a ‘screen’ requires an entirely different approach to visual construction and mise-en-scene, and a very different approach to the aesthetic of visual storytelling, yet it is arguably one of the most significant developments in the history of cinematic production in its ability to dimensionalise the storytelling plane. The great filmmaker Andrei Tarkovsky in his book Sculpting in Time (1987) explains one of cinema’s great virtues is that it is the most “realistic of the arts”, and it is the ability to capture time which makes it so. Depth and dimension within the cinematic image itself are aesthetic choices, visual devices used to create the illusion of depth in a two dimentional image. When creating film works in 3D one could be said to be sculpting in space as well as time, indeed adding to the unique value of cinema. If this is seen as an important direction for cinematic production, how then can 3D practice be included within a traditional 2D film production educational model?
This paper will examine the key differences in production process and aesthetic design between 2D and 3D media and explore the issues, implications and benefits of introducing both models to students within an undergraduate film school program, both in terms of curriculum development and student outcomes. It will address the question of whether the two modes of production are even compatible within a learning environment, and look at ways the two often competing modes of aesthetic design could co-exist.Queensland College of ArtNo Full Tex
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