7,991 research outputs found
Dissemination of innovative teaching and learning practice : the global studio
No full textThis project aims to disseminate teaching and learning resources from an innovative programme called the Global Studio to the ADM-HEA community. The area of innovation developed in the Global Studio was to link student teams across the globe in ‘designer’ and ‘client’ roles in order to undertake a product development project. This built on and extended the learning philosophy of learning in and through doing provided in a more traditional design studio. Throughout the project students worked in geographically distributed work groups in order to provide them with experience in using skills that would enable them to work successfully in distributed design teams
The Creative Studio Practice of Contemporary Dance Music Sampling Composers
No full textThis article seeks to investigate some of the considerations that inform and help to determine the creative studio practice of contemporary sampling composers. Collaborative writing and production, specifically the co-opted collaboration implicit in using samples, will be assessed to consider those aspects of the production process which the participants consider to be authorial. These considerations include acts of listening, selecting and editing. In examining these matters this paper places emphasis on how sampling composers actively constrain their options in order to promote a creative relationship with their musical material. Techniques such as, firstly, traditional sample manipulation, secondly, the use of a sample as an initial building block for a composition from which the sample is then removed and, finally, live performance in the studio which is subsequently cut up and treated as a sample, will be discussed. Case studies, in the form of semi-structured interviews with sampling composers, will be drawn upon to assess approaches to and views about these forms of studio compositio
Simon J. Luna
No full textPhotograph shows bust studio portrait of Luna, amateur boxer and resident of San Antonio, Texas.Photographer's imprint on back of original: ''Star Studio / J. P. Estrada / 703 Dolorosa St. / San Antonio, Texas.'' Inscription on back dated February 15, 1938
Old Market House, San Antonio, Texas
No full textImage of the old market house in San Antonio, Texas.Recto: [imprinted] (1) - Old Market House, San Antonio, Texas Star Studio San Antonio, Texas
Landing near Turkish trenches at Gallipoli, 1915.
No full textTitle from inscriptions.; Part of the: Jim Davidson Australian postcard collection, 1880-1980.; Condition: Yellowing.; Inscription: "Landing near Turkish trenches at Gallipoli. Star Photo Studio Cairo"--Printed on image.; Also available online at: http://nla.gov.au/nla.pic-vn6449110
Bernardsville, Eastern Star Home main entrance postcard, circa 1930
No full textThis circa 1930 postcard image of the main entrance of the Eastern Star Home in Bernardsville was made by the Koenig Studio in Newark, NJ
Bernardsville, Eastern Star Home fireplace postcard, circa 1930
No full textThis photo of the library fireplace at the Eastern Star Home in Bernardsville was made by the Koenig Studio, Newark, NJ, circa 1930
"Disney is the Tiffany’s and I am the Woolworth's of the business": A critical re-analysis of the business philosophies, production values and studio practices of animator-producer Paul Houlton Terry
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices.
Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions.
There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation.
Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons
Public bodies, private moments : method acting and American cinema in the 1950s
No full textThe thesis deals with two central issues:
a) the construction of a framework for the study of film acting which places
performance in a cultural context
b) the cultural significance of Method acting during the 1950s with specific
reference to American cinema of the period
The first chapter considers the ways in which the voice and body in film acting are made
meaningful in the context of beliefs about acting and personal identity. The chapter also
proposes ways for situating the practical activity of film acting in a context of cultural
production.
The remaining chapters study the cultural significance of Method acting through
separate analyses of the Method technique, style, representation of gender, and image of
star performance. Readings of the Method technique and style are placed in the context of
a `culture of personality', in which the significance of the Method was produced in the
ways that acting signified beliefs about personal identity. The discussion of the Method
style is then developed in the analysis of the ways in which the style was used in film
melodramas to represent the gendered anxieties of the rebel hero. Finally, Marlon
Brando's image and performances are studied for how the actor personified the meaning
of the Method. Together, technique, style, gender representation, and stardom, are
studied as various aspects of what is called the Method discourse
Embracing Star Couples: Contextualising Star Images in Hollywood's Studio Era
No full textMuch star studies theory, following key theorist Richard Dyer (1998/1979; 1986), continues a focus on 'the star' in isolation. This thesis, however, places stars within the context of other stars. Specifically, I analyse three popular star couples from Hollywood's Studio Era. Star couples played an important part in Hollywood production and reception, with many films employing a male and a female star involved in a romantic plot. My case studies of Charles Farrell and Janet Gaynor (partnered in films from 1927-1934), William Powell and Myrna Loy (1934-1947), and Walter Pidgeon and Greer Garson (1941-1953) focus on their representation in fan magazines. Fan magazines are rich and complex sites of star and audience interaction, with these publications misleadingly implying that they provide access to the 'real' star. In fact, as Dyer has commented, we are only ever offered a carefully constructed media text - a 'star image' - comprised of promotion, publicity, films, and criticism and commentary. Fan magazines have recently become increasingly available to researchers via digital platforms, making my advancing of a rigorous, yet flexible, methodology especially relevant. Expanding on recent work on tropes in fan magazine coverage, I analyse themes occurring in these stars' screen and star images. Comparison within and between these star couples affords insights into what found favour with audiences at different times, especially in relation to romance. The thesis also sheds light on the intricate ways Hollywood negotiated its presentation of screen and star images within the framework of myriad stars
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