scholarly journals In the Presence of Photons: Portraying Light through Cinematography

2020 ◽  
Vol 1 (1) ◽  
pp. 8-14
Author(s):  
Nadia Mahmud
Keyword(s):  
Production Process ◽  
Short Film ◽  
Experimental Film

Film is a medium that is impossible to exist without light. Essential to its production process is cinematography, a discipline in filmmaking that is directly responsible with visually presenting the information of a shot through a camera using the manipulation of time, lighting and framing. Frame distance describes the distance between a subject and the camera but more vital is the intent of application of frame distance as it is capable of implying meaning or eliciting a feeling in the viewer. The grammar of frame distance can be utilized to present structures, themes and styles of a film. Experimental, abstract films, although non-conformist to the rules of conventional cinema, may still be confined to the concepts and techniques in cinematography. Frame distances can help to distinguish patterns as well as emphasize details in an experimental film. The abstract, short film “Trapped Light”, explores the possibility of depicting the movement of light through transmissive and reflective materials.

Transforming the Schizophrenic through Cinematic Therapy

2020 ◽  
pp. 43-52
Author(s):  
Eileen Anastasia Reynolds
Keyword(s):  
Mental Health ◽  
Production Process ◽  
Mental Wellbeing ◽  
Short Film ◽  
Film Festival ◽  
Creative Project ◽  
The Past ◽  
Mental Health Patients ◽  
Film Making

The author shares her directorial experience in the making of her short film where she invited her aunt to participate in the production process. As her aunt had been diagnosed with schizophrenia in the past and was going through depression when the film was planned, it was supposed that perhaps the film-making process would help improve her mental health with her being part of a creative project. From script-writing, to acting, and even animating, the author had fully engaged her aunt from start to finish. The essay documents the author’s reflections of her aunt’s participation and how her sense of mental wellbeing improved dramatically as the film project progressed. The issue of exploitation is also considered in the essay as there is a difference between engagement and empowerment as opposed to deception and participation. Though the film did not win any awards at the 48-Hour Film Festival; the cinematic therapy experience highlighted the potential of seeking new pathways in supporting mental health patients.

Conjuring Caliban's Woman: Moving beyond Cinema's Memory of Man in Praise House (1991)

Hypatia ◽  
2021 ◽  
pp. 1-16
Author(s):  
Ayanna Dozier
Keyword(s):  
Short Film ◽  
Experimental Film ◽  
Black Feminist ◽  
Black Womanhood ◽  
Poetic Structure ◽  
Normative Order ◽  
Mass Accumulation ◽  
Sylvia Wynter

Abstract Julie Dash's experimental short film, Praise House (1991), situates conjuring as both a narrative and formal device to invent new memories around Black womanhood that exceed our representation within the epistemes of Man. I view Praise House as an example of conjure-cinema with which we can evaluate how Black feminist filmmakers, primarily working in experimental film, manipulate the poetic structure and aesthetics of film to affect audiences rather than rely on representational narrative alone. Following the scholarship of Sylvia Wynter, I use Man to refer to the representational body of the Western episteme that defines value through mass accumulation. It is through Wynter's scholarship that we find the ontological emancipation from Man that is Caliban's woman, who represents discourse beyond our normative, colonial mode of feeling/knowing/being. Through an analysis of Praise House that foregrounds film's ability to generate affect via its aesthetics, this article argues that aesthetics can similarly enact the same power of conjure as found in Praise House's narrative, and as such conjures an epistemological rupture to our normative order that is Caliban's woman.

scholarly journals Juxtaposition in Montage Movie

2020 ◽  
Vol 188 ◽  
pp. 00023
Author(s):  
Sheila Azizah ◽  
Hestiasari Rante ◽  
Dwi Susanto ◽  
Akhmad Alimudin
Keyword(s):  
Computer Science ◽  
Production Process ◽  
Short Film ◽  
Science And Engineering ◽  
Vital Part ◽  
Film Editing ◽  
Sergei Eisenstein ◽  
University Of Technology ◽  
Starting Point ◽  
The Future

Film editing is a vital part in th2Department of Computer Science and Engineering, Toyohashi University of Technology, Tempaku, Toyohashi 441-8580, Japane post production process of a film. One of film technique is the montage editing technique, created by Sergei Eisenstein. Even so, Kuleshov’s “Effect” may be considered as the starting point of montage theory. Juxtaposition is a film editing technique that combines two or more shots to generate ideas or create thoughts. A montage can be a juxtaposition of two or more shots, but generally refers to a juxtaposition of several shots to describe a stretched event or a solidified time. This paper presents the experiment of juxtapositioning several shots in the scenes of a montage movie, In the Future, where the shots that have been sorted in the first version of this short film, then a few shots are exchanged positions in the second version then result a different story.

scholarly journals SEBUAH KARYA FILM PENDEK “KASIH SAYANG”

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Dimas Noercahyo ◽  
Irvan Maulana
Keyword(s):  
Young People ◽  
Production Process ◽  
End Of Life ◽  
Short Film ◽  
Documentary Films ◽  
Important Process ◽  
Short Films ◽  
Three Stages ◽  
Post Production ◽  
People Today

 The development of film in Indonesia has a long journey to eventually become like a film today that is full of effects, and very easy to find as a medium of entertainment. The film has several types such as, Documentary Films, Short Films, Long Films. Short films themselves have differences with long films in terms of duration. It is said to be a short film because it is indeed short induration are 5 minutes or only 20 minutes. Not only that, the shooting process is also short, unlike widescreen films produced by professionals (Agus Dasmono, 2008: 29). The idea of this film begins from the writer wants to tell that the love ofparents will never break until the end of life, the authors also realize that young people today are not aware that the love of parents is very great for their children. This film will be a very interesting show with the story of a anxiety childwho is trusted to take care his younger brother who is still a baby and then left by his parents, making this movie useful for the community. The process of makingshort film works goes through three stages, namely pre-production, production, and post-production with the production team carrying out their duties in accordance with the jobdesk. Pre-production is the most important process, because this process will determine how to carry out the next process and the results that will be obtained. The production process takes place after preproduction is complete, production includes the process of taking pictures, organizing, and making sets. And post-production in the form of editing, sound

Cognitive Processing of Film Cuts Among 4- to 8-Year-Old Children

2012 ◽  
Vol 17 (4) ◽  
pp. 257-265 ◽  
Author(s):  
Carmen Munk ◽  
Günter Daniel Rey ◽  
Anna Katharina Diergarten ◽  
Gerhild Nieding ◽  
Wolfgang Schneider ◽  
...  
Keyword(s):  
Eye Movements ◽  
Cognitive Processing ◽  
Media Literacy ◽  
Age Groups ◽  
Reaction Times ◽  
Time Span ◽  
Short Film ◽  
Calculation Formula ◽  
Eye Tracker ◽  
Chronological Sequence

An eye tracker experiment investigated 4-, 6-, and 8-year old children’s cognitive processing of film cuts. Nine short film sequences with or without editing errors were presented to 79 children. Eye movements up to 400 ms after the targeted film cuts were measured and analyzed using a new calculation formula based on Manhattan Metrics. No age effects were found for jump cuts (i.e., small movement discontinuities in a film). However, disturbances resulting from reversed-angle shots (i.e., a switch of the left-right position of actors in successive shots) led to increased reaction times between 6- and 8-year old children, whereas children of all age groups had difficulties coping with narrative discontinuity (i.e., the canonical chronological sequence of film actions is disrupted). Furthermore, 4-year old children showed a greater number of overall eye movements than 6- and 8-year old children. This indicates that some viewing skills are developed between 4 and 6 years of age. The results of the study provide evidence of a crucial time span of knowledge acquisition for television-based media literacy between 4 and 8 years.

Optimization of the production process of special purpose pasta with the addition of carrots and pectin

2019 ◽  
Vol 28 (9) ◽  
pp. 50-53
Author(s):  
N.N. Martynov ◽  
◽  
G.A. Sidorenko ◽  
G.B. Zinyukhin ◽  
E.Sh. Maneeva ◽  
...  
Keyword(s):  
Production Process

IMPLEMENTASI JOB ORDER COSTING METHOD DALAM PERHITUNGAN HARGA POKOK PRODUKSI MAP

2018 ◽  
Vol 4 (2) ◽  
pp. 43-55
Author(s):  
Ika Yulianti ◽  
Endah Masrunik ◽  
Anam Miftakhul Huda ◽  
Diana Elvianita
Keyword(s):  
Production Process ◽  
Quantitative Data ◽  
Production Cost ◽  
Qualitative Data ◽  
Cost Data ◽  
Method Calculation ◽  
Cost Of Production ◽  
The Right ◽  
The Cost

This study aims to find a comparison of the calculation of the cost of goods manufactured in the CV. Mitra Setia Blitar uses the company's method and uses the Job Order Costing (JOC) method. The method used in this study is quantitative. The types of data used are quantitative and qualitative. Quantitative data is in the form of map production cost data while qualitative data is in the form of information about map production process. The result of calculating the cost of production of the map between the two methods results in a difference of Rp. 306. Calculation using the company method is more expensive than using the Job Order Costing method. Calculation of cost of goods manufactured using the company method is Rp. 2,205,000, - or Rp. 2,205, - each unit. While using the Job Order Costing (JOC) method is Rp. 1,899,000, - or Rp 1,899, - each unit. So that the right method used in calculating the cost of production is the Job Order Costing (JOC) method

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