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2021 ◽  
Vol 12 (1) ◽  
Author(s):  
Marcela Langer
Keyword(s):  

A presente resenha concentra-se na análise entre os filmes Mulan de 1998, e o live action de mesmo nome, lançado em 2020, no qual busca propor uma discussão entre suas divergências e semelhanças, bem como a perpetuidade de narrativas orientalistas que permaneceram nas duas produções da Disney nesse espaço de 22 anos. A partir do viés de O Orientalismo de Edward Said, o texto engloba a problemática acerca das produções estadunidenses sobre histórias asiáticas, tendo por diretriz temporal o espaço entre o primeiro e o último filme do conto ancestral chinês.


2021 ◽  
Vol 4 (2) ◽  
pp. d1-13
Author(s):  
Ashrul Syarifuddin ◽  
Terry Lucas

Rotoscoping can produce believable 2D animation and movements when the process is done correctly. However, not all live-action footage can be easily rotoscoped due to scenes or fictional designs that are impossible to shoot. To overcome this technical challenge, 3D playblast can be used as footage for an alternative source for rotoscoping. This research aims to explore and evaluate two rotoscoping techniques of transforming 3D playblast into 2D animation. Two different animation software (Adobe Animate CC and Toon Boom Harmony) were used to explore those rotoscoping techniques. The method began by designing a storyboard with dynamic camera angles. Then, animated 3D models were developed based on the storyboard as footage for rotoscoping. Then, those animated 3D models were rotoscoped frame by frame using ‘Toon Boon Harmony’ and ‘Adobe Animated CC’. The rotoscope outputs were evaluated for their effectiveness and weaknesses. Findings show that rotoscoping frame by frame is viable for both software with some nuances. Nevertheless, the proposed rotoscope techniques can maintain consistency between each frame without losing the proportion of anatomy and style when animating in an extreme and distorted scene.


Arts ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 5
Author(s):  
Zhuoyi Wang

Directed by the feminist filmmaker Niki Caro, Disney’s 2020 live-action remake of Mulan (1998) strove to be a more gender progressive, culturally appropriate, and internationally successful adaptation of the Chinese legend of Mulan than the animated original. Contrary to the film’s intended effect, however, it was a critical and financial letdown. The film was criticized for a wide range of issues, including making unpopular changes to the animated original, misrepresenting Chinese culture and history, perpetuating Orientalist stereotypes, and demonizing Inner Asian steppe nomads. In addition, the film also faced boycott calls amid political controversies surrounding China. It received exceptionally low audience ratings in both the US and China, grossing a total well under its estimated budget. This article argues that Mulan (2020) is not, as many believe, just another Disney film suffering from simple artistic inability, cultural insensitivity, or political injustice, but a window into the tension-ridden intersectionality of the gender, sexual, racial, cultural, and political issues that shape the production and reception of today’s cross-cultural films. It discusses three major problems, the Disney problem, the gender problem, and the cultural problem, that Mulan (2020) tackled with respectful efforts in Caro’s feminist filmmaking pattern. The film made significant compromises between its goals of cultural appropriateness, progressive feminism, and monetary success. Although it eventually failed to satisfactorily resolve these at times conflicting missions, it still achieved important progress in addressing some serious gender and cultural problems in Mulan’s contemporary intertextual metamorphosis, especially those introduced by the Disney animation. By revealing Mulan (2020)’s value and defects, this article intends to flesh out some real-world challenges that feminist movements must overcome to effectively transmit messages and bring about changes at the transcultural level in the arts.


Author(s):  
Liliia Yeremenko ◽  
Anna Kichapina

The purpose of the study is to analyze the characteristics of a live-action film’s musical arrangement; to identify the impact of musical arrangement on the audience’s perception, on the example of the film composer Eric Serra’s works. The research methodology is to apply the following methods: theoretical – analysis of the music functions in making a film and the implementation of the director’s vision, generalizing the influence of musical arrangement on the viewer. Scientific novelty. The functions of film music that help in creating a live-action film were analyzed for the first time, a detailed analysis of the interdependence of music and visuals was made, by theoretical analysis of music functions; it has been found out how it affects the perception of the audience. Conclusions. In the article, we analyzed the functions of musical arrangement in a live-action film. Through the analysis of the influence of music on the audience’s perception, it has been established how the musical arrangement helps to realize the author’s vision. The role of music in making a live-action film has been researched. Through theoretical and practical research of various cinematography aspects that are relevant at the moment (in particular, the problem of the sound space in a movie), it becomes possible to reach a new aesthetic level of design, creation, perception and understanding of cinematic works.


2021 ◽  
pp. 171-190
Author(s):  
Angela Longo

The question of the appearance of the body surges in a play of overwhelming forces, and its register in artworks assumes different shapes as their representation spreads towards other mediums. Firstly, following Aby Warburg’s thought, this article will analyse the process of the survival of bodies as potential motion in images. Warburg proposed an Iconological approach where the analysis of potential movement in the image yielded a formula for its analytic recomposition. Furthermore, he captured the transition at the beginning of the twentieth century, when the body representation moved to media that allowed movement reproduction, such as animation and cinema. The bodies' survival or capture contained an animist belief that gained propulsion with the first apparatuses and optical toys that allowed movement and live-action recording. This movement allowed for the production of a simulacrum of the living body and the power to recompose it in space. Therefore, this article will focus on the evolution of body representation and its survival to understand how images from the early twentieth century shaped and traveled around the world.


2021 ◽  
pp. 251-270
Author(s):  
Maitane Junguitu Dronda

The nature of animated cinema involves the creation of any realistic or fantastical characters, places, and situations. Animation can be used to take characters far from their hometowns on believable journeys without big budgets used on location shooting. The Basque animated feature film Ipar Haizearen Erronka (The Challenge of the North Wind), directed in 1992 by Juanba Berasategi, illustrates how animation can represent a journey and a historic reality in a plausible way. The movie depicts a Basque whale hunting vessel travelling to the wild coast of Newfoundland, Canada in the sixteenth century. Typically, Basque live action movies in the 80s would recreate foreign locations with nearby settings. Ipar Haizearen Erronka avoids this problem by showing America through drawings. In this paper, we will use the movie Ipar Haizearen Erronka to interpret how animation uses backgrounds and objects to represent a voyage across the Atlantic Ocean and determine the realistic accuracy of the social and historical moments represented in the movie. We will also see how this journey embodies the characteristics of the literary genre of Bildungsroman, as well as the narrative structures pointed out by Vladimir Propp’s folktale and Joseph Campbell's monomyth. The study also focuses on how the film depicts the most representative characteristics of the journey, and how they are used as filming narrative resources. A closer look will be taken into the main vessels, the captain's logbook, the map, the historical context of the sailing of the ship, the maritime laws where sexism is abundant, the financing of the trip, and the work on board.


2021 ◽  
pp. 155-162
Author(s):  
Věra Honusková ◽  
Martin Faix ◽  
Kristýna Obrdlíková
Keyword(s):  

Author(s):  
Tiago Barcelos Pereira Salgado ◽  
Thayrone Marcos Soares Costa De Carvalho
Keyword(s):  

O artigo busca investigar como a representação social do arquétipo princesa é ressignificada no live-action “A Bela e a Fera” (2017) pela apropriação de aspectos de teorias feministas. Este estudo se justifica pela reconstrução da trajetória de personagens femininas em produções desse tipo pela Disney, sobretudo conforme a remodelação da representação social, dada pela quebra do estereótipo feminino dos contos originais, e também devido à grande repercussão que live-actions têm no mercado. Recorremos aos contos originais, identificando aspectos de ruptura do patriarcado masculino, conforme a narrativa apresentada, realizando análise comparativa entre cenas do filme em live-action e do filme em animação. Conclui-se que o arquétipo princesa é ressignificado na obra em live-action por meio da apropriação de conceitos próximos a teorias feministas.


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