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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Electronic & video art
A work of research on the newly emerged and much talked about
method of filmmaking known as no-budget or micro budget or zero
budget filmmaking worldwide. In chapter 1, the author tries to
define or to locate some of the specific features common with the
films widely known as no-budget productions and thus approaches
towards a more coherent understanding of the term. The popular
information resources are consulted as there are no academic
definitions still available. In chapter 2, the historical process
of the emergence of no-budget filmmaking practice is discussed
analytically and the similar approaches and precursors of the
practice are looked for in the larger film history. In the final
chapter, the democratization that took place with the no-budget
method being applied on the film medium is focused. The creative
freedom of the artist is the major concern here. The primary hurdle
of writing this paper is the scarcity of trusty enough source
materials. Quite astonishingly this much popular a terrain has been
left largely unexplored academically till date. Mainly artists who
have produced no-budget film(s) in their filmmaking career are
consulted, that is to say, interviewed for putting this paper into
shape. Through their understanding of the method the author tries
to come to an understanding of his own. In this process many of the
popular but vague conceptions regarding the practice are completely
discarded. The old and the armchair theories and conceptions are
replaced with the new ones coming directly from the field by
exploring it. The key argument is to focus on the unique democratic
nature of the no-budget filmmaking process situating it as the
successor of avant-garde and independent filmmaking tradition in
the larger film history.
"The greatest tragedy of all is friendship." The legends of the
great Jewish gangsters come to life in this unproduced screenplay
that tells the epic tale of Bugsy Siegel and Meyer Lansky, two
friends who rose from the streets to rule American organized crime
and found the city of Las Vegas. Intense, violent, moving, and
tragic, "Bugsy and the Little Man" recounts one of modern America's
darkest and most enduring legends.
"Create Your Own World " is a motto of visionary artists. We all
enjoy escaping into, and journeying within, fictional realms. Some
aspire to create their own unique artistic worlds. "Fictional
Worlds," intended for all readers who love literature and film, and
especially for writers, filmmakers, and videogame designers, points
at new ways of navigating, exploring, and creating entrancing
fictional universes. This book's promise is to make its readers
more confident fictional world travelers and compelling
storytellers. A holistic and evolutionary study of narrative from
ancient rituals, myths and fairytales to the current day, this book
blends a creative and intellectual approach to writing. The themes
of journey, the wonderworld, quest for knowledge, symbolic
death-rebirth, conflict resolution, family, and community are at
the core of this inquiry into the nature of narrative, its politics
and poetics. Teaching nuts and bolts of writing fiction, this book
connects the "cultural" dots in the trajectory of the dramatic arc,
elucidating the power of storytelling. With Odysseus as a guide,
"Fictional Worlds" is a journey through the landscape of narrative
traditions, emerging practices and artistic debates. The four books
of this volume explore key genres such as action-adventure, drama,
mystery, and comedy.
"This brilliant book is far more than a screenwriting manual.
Ranging across the globe and throughout history we have here a
dazzling survey of the intellectual foundations and possibilities
of the cinema. This is must-reading for anyone who is interested in
how and, more importantly, why we tell stories on screen." -- David
Desser, author of "Eros plus Massacre: An Introduction to the
Japanese New Wave Cinema"; co-author of "American Jewish
Filmmakers"
"A new theory of narrative, which I find both convincing and
uplifting. Illuminating and useful anthropological theory of
genres. Terrific choice of examples, as well as the analysis. 'Dos
and Don'ts: Creative Solutions for the Formulaic Plot' will be
immensely helpful to practitioners.... Among interesting ideas: the
murder mystery-as tragedy in reverse And the role of film noir...
And 'Ulysses as a Peter Pan for grownups' - I love it " -- Linda
Hutcheon, Distinguished Professor Emeritus, University of Toronto,
author of "A Poetics of Postmodernism," "The Politics of
Postmodernism," and "A Theory of Parody: The Teachings of
Twentieth-Century Art Forms"
"An innovative approach to teaching screenwriting, based in
original scholarship of real importance. The book's ideas are of
impressive originality and practicality, and expounded with
exemplary clarity. Dr. Alexander does a splendid job making a case
for the new and more productive understanding of genre. The book
features an elegant commentary on the distinction between film as
ritual and ceremony. There is much to recommend this fine volume,
the writing is generally elegant. The chapter on mystery is so
brilliant that it alone would make this book worthy of a semester's
study." -- R. Bruce Elder, filmmaker; author of "Harmony and
Dissent: Film and Avant-Garde Art Movements," and "DADA, Surrealism
and the Cinematic Effect"
"There's much I admire about "Fictional Worlds," starting with
the core project of bridging between narrative theory,
anthropological perspectives on myth and ritual, and work in screen
studies. I have never seen the books addressing Joseph Campbell's
'Hero's Journey' with relation to screenwriting in the exhaustive
detail and with the nuance that Alexander deploys here, and with
such a rich array of examples. What I admire is Alexander's
insistence on historical and cultural specificity, even while
tracing connections in the kinds of stories that have emerged
across times and cultures." -- Henry Jenkins, Professor, University
of Southern California; author of "Convergence Culture: Where Old
and New Media Co
This book is a compilation of various non traditional works
involving photo manipulations via the use of texture overlays or of
multiple exposures or montages. Also included are several images
constructed from scratch in photo editing software.
These paintings are called light fractal because they are created
entirely with pixels of light. And fractal because the method of
creation is with a new and experimental set of "brushes" that each
have a unique set of fractal algorithms. What further sets them
apart is in the act of applying the color/light, the brush acts
dynamically, has a unique movement. And as that movement unfolds
you react and interact with the brush. It is a completely unique
way of painting. There is a leading and a following simultaneously.
And like any digital graphic software, a seemingly endless number
of variations are available to create brushes.
Lukas Moodysson is one of the most accomplished and unconventional
filmmakers of his generation in Sweden. Moodysson, now well known
for his English-language film Mammoth (2009) as well as his
heartbreaking indictment of sex-trafficking in Sweden, Lilya 4-Ever
(2002), debuted as a writer and director while still in his
twenties with Show Me Love (1998). The film received four
Guldbaggar--the Swedish equivalent of the Academy Awards--including
best film, best director, best screenplay, and best actresses. A
coming-of-age and coming out film about two young women in a
stiflingly oppressive small town, Show Me Love is widely considered
a youth film classic and was called a "masterpiece" by Ingmar
Bergman. This book, which is the first study of Moodysson in any
language, includes discussions of the film's genre, aesthetics, and
style, and situates the film in both contemporary Swedish cinema
and broader Swedish culture. It includes sequence and dialogue
analysis and discusses how and why this particular film became so
important: its queer significance, its unusually realistic
depiction of youth, and its critical reception. Anna Stenport
conducted extensive interviews with the cast and crew, including
several enlightening discussions with Moodysson himself. Lukas
Moodysson's Show Me Love offers an incisive introduction to
Moodysson for readers interested in contemporary film, as well as a
history and close analysis of changes in the Swedish film industry.
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Metaforma
Nexumorphic
Hardcover
R889
Discovery Miles 8 890
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