scholarly journals Fleeting Film: Using Story to Seek Archival Permanence in the Transitory and Globalized Digital Visual Effects Industry

2018 ◽  
Vol 47 (1) ◽  
pp. 12-22
Author(s):  
Evanthia Samaras ◽  
Andrew Johnston
Keyword(s):  
Archival Science ◽  
Film Production ◽  
Historical Evidence ◽  
Visual Effects ◽  
Significant Aspect ◽  
Archival Practice ◽  
Original Order ◽  
The Future ◽  
Digital Film

AbstractArchiving is a long-standing vocation, founded on principles such as provenance, original order, truth, evidence, preservation and permanence. A far cry from the visual spectacle and movable feast of film visual effects (VFX)—a transitory and globalized industry of disposable firms, ever-advancing technologies and a roving workforce which craft digital animations and seamless effects for the big screen. In this paper we utilize the concept of “story” as a premise to bring together the seemingly different vocations of archival science and film VFX. Through an exploration of digital film production and archival practice under the context of storytelling, we aim to highlight the need for archivists to work with the VFX industry to ensure evidence of this culturally significant aspect of filmmaking and cinema discourse is preserved into the future. As well present the argument that archives are more than collections of historical evidence. Archives are story—and archivists are storytellers.

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

scholarly journals Ideology in Vicarious Learning–Related Communication

2020 ◽  
Author(s):  
Juha-Antti Lamberg ◽  
Jukka Luoma
Keyword(s):  
Organizational Development ◽  
Economic Organization ◽  
Vicarious Learning ◽  
Historical Evidence ◽  
Organizational Improvement ◽  
The Future

Organizations often learn vicariously by observing what other organizations do. Our study examines vicarious learning–related communication through which individuals share their observations with other organizational members. Most students and members of present-day organizations would expect that this communication is driven by a prodevelopment logic—that communication serves the purpose of organizational improvement and competitiveness. Our unique historical evidence on learning-related communication over multiple decades shows that the subjective and collective attitude toward prodevelopment communication may be ideologically conditioned. Prodevelopment communication is the norm in capitalist organizations, but competing ideologies may emphasize other goals higher than organizational development. Consequently, increasing challenges to capitalism as the ideological basis of economic organization can have deep impacts on how organizations learn and produce innovations in the future.

THE HISTORICAL MANUSCRIPTS COMMISSION AT 150

2020 ◽  
Vol 55 (2) ◽  
pp. 33-43
Author(s):  
Arike Oke
Keyword(s):  
Keynote Lecture ◽  
150Th Anniversary ◽  
Archival Practice ◽  
Historical Manuscripts ◽  
The Future ◽  
Post War

The 150th anniversary of the Historical Manuscripts Commission invites the opportunity for reflection on how the commission characterises and influences the development of the archives profession. This article considers archival practice as linked to the mood and character of a nation, in this case Britain. It uses the historiography of post-war identity building to begin to investigate and critique the British archives sector, and asks questions about the future of archives and archivists. The article is adapted from a keynote lecture at the HMC150 commemoration, 14 October 2019.

VISUAL EFFECTS OF OBJECTS UNDER METAMERISM WITH MULTI-SPECTRAL LIGHT SOURCE

2021 ◽  
Author(s):  
Y.M. Li ◽  
H. Fan ◽  
C.H. Lin ◽  
J.U. Chong ◽  
T.X. Lee
Keyword(s):  
Light Source ◽  
Positive Relationship ◽  
Target Object ◽  
Visual Effects ◽  
Colour Temperature ◽  
Lighting Conditions ◽  
The Future ◽  
Convenience Sampling ◽  
Colour Rendering

This study attempts to simulate the metamerism colour, and the guava was used as the target object. We design four sets of metamers with a correlated colour temperature of 4000K and an illuminance of 750lux. The light source was simulated in the LED cube. The subjects with convenience sampling observed the visual effects, including look delicious, colourful, and colour rendering of guava under metamerism, then analysed its relationship with CRI and CQS. The results showed that colour rendering and visual effects are not a positive relationship, and the effect of CQS is closer to the visual effects of the subjects. The results of this study can be used as a reference for light source lighting designers as a basis for improving lighting conditions. In the future, we can collect databases for the different objects with an optimized multi-spectral light source.

Digital Film Production Preservation and Access

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Production ◽  
Data Complexity ◽  
Archival Studies ◽  
Digital Film ◽  
Access Project ◽  
The Moment ◽  
The Way

This chapter examines digital film production preservation and access in the moment of the ‘Digital Dilemma’and the attendant challenges to the archiving of digital film which are summarised as reliability, vulnerability, volume and data complexity. Different archival paradigms are considered including film, born digital and hybrid, and the associated archival aesthetics, drawing from various branches of enquiry within archival studies. This includes considerations of Sally Potter’s own online, interactive archive SP-ARK – whereby all film/analogue was digitised – and the archival structure developed by the Deep Film Access Project (DFAP) – designed to accommodate both film, data and hybrid assets. The chapter contends that archival structures support and replicate auteurism leading to omissions and occlusions of both personnel and practices. Evidence is provided to demonstrate that the way in which an archive is conceived, shaped and organised captures the various ‘aesthetics of production’ and ‘Production Aesthetics’ of a moment in time, as well as its concomitant ‘production legacy aesthetics’, ‘archival legacy aesthetics’ and embedded paradoxes of representation.

Digital Film Production Time

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
New Technologies ◽  
Film Structure ◽  
Production Model ◽  
Film Production ◽  
Production Time ◽  
Study Materials ◽  
Production Practice ◽  
Digital Film ◽  
Digital Processes

This chapter explores the notion of digital film production ‘time’ By examining the various different temporalities of film production. Drawing primarily upon the case-study materials of Ginger & Rosa, the chapter maps the 2012 moment of transition from working with film to working with data, and the hybrid practices and protocols that manifested as a result. It examines how the introduction of new technologies and digital processes challenged the orthodoxies of long-established film industry production practice including how workflow patterns were effected with the advent of the digital in film production. The chapter includes the proposition of a ‘Creative Core’ Structure of Production model with which to understand the determinants and impacts of on-set workflow, illuminating the emergence a specific aesthetic of production which is referred to as ‘workflow-warp’ and ‘workflow-weft.’ The former refers to the temporal bending of the traditional film structure and pace out of shape, and the latter – the process of weaving together a complex blend of the film and the digital into an inextricable tapestry.

Locating the Black archive

2020 ◽  
pp. 207-218
Author(s):  
Hannah Ishmael ◽  
Ego Ahaiwe Sowinski ◽  
Kelly Foster ◽  
Etienne Joseph ◽  
Nathan E. Richards
Keyword(s):  
Cultural History ◽  
Archival Science ◽  
Archival Practice ◽  
Starting Point ◽  
Intellectual Traditions ◽  
History Of ◽  
The Caribbean ◽  
The Uk ◽  
Archival Practices

This chapter takes the concept of ‘living heritage’ as a starting point to show the ways in which focusing on tangibility and intangibility, the formal and the informal, can be used to stretch the concepts of archival practice. It highlights the cultural and intellectual traditions, tangible and intangible, found within the Caribbean, Africa, and across the Diaspora. Accordingly, the institutions, organisations, concepts, and practices discussed here have a ‘pre-history’ both internationally and in the UK — a prehistory inseparable from the development of the intellectual and cultural history of African and Caribbean communities in the Diaspora. Despite this, an archival science capable of dealing with these complexities has yet to be developed. The chapter thus considers the ways in which Black-led archival practices in the UK have historically sought to both disrupt and define heritage practices. It makes a claim for the active, political and cultural incursions, disruptions, and interventions in the heritage sector by Black-led archives and heritage practitioners.

scholarly journals The Future of ASTIN

1982 ◽  
Vol 13 (2) ◽  
pp. 75-80 ◽  
Author(s):  
Hans Bühlmann
Keyword(s):  
Scientific Method ◽  
Mortality Data ◽  
Historical Evidence ◽  
The Past ◽  
Starting Point ◽  
The Future ◽  
Mortality Table ◽  
Intelligent Approach ◽  
Statistical Results

My assistants at ETH have a wall calendar—not with the usual pictures of Swiss mountains, hills and lakes, but with “quotations for intelligent people”. Recently, the quotation for the week read as follows: “Even the future is no longer what it used to be in the past”.Observe that also in this supposedly intelligent approach it seems impossible to speak about the future without referring to the past. I shall not deviate from this rule. Of course, my task is greatly simplified by the fact that Paul Johansen has just entertained you in a charming way about the past 25 years of ASTIN and the earlier endeavors leading to the foundation of ASTIN.In the year 1693, Edmond Halley constructed the first mortality table based on mortality data from Breslau which he had obtained through the intervention of Leibniz. This can be regarded as the starting point of actuarial science. In my opinion it can however not be considered as the starting point of the actuarial profession. Why? Yes, Halley's table was used for some eighty years because subsequent information coincided with his estimate of mortality. Yes, De Moivre, in his classic textbook of 1725, performed ingenious calculations of annuities, based on the same table. Yes, Süssmilch published the first basic and substantial work of demography in 1741 but—here comes the big but—no government (and nobody else sold annuity insurance at that time) made use of the available scientific method to calculate annuities. Perhaps the first statistical results to be taken seriously were the Northampton tables of 1780, devised by Richard Price. Incidentally, this date coincides reasonably well with the first valuation by William Morgan in 1786. Hence, I think that either of these dates may be taken, at the earliest, as the start of the actuarial profession, a profession being by definition a dedicated group of people accepted by society for the performance of a particular skill. Let me make my point explicit: We have historical evidence of the existence of actuarial science about 90 years prior to the emergence of the actuarial profession.

The Future of Film Production

1974 ◽  
Vol 83 (9) ◽  
pp. 699-702
Author(s):  
Gerald G. Graham
Keyword(s):  
Film Production ◽  
The Future
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