"In all their work, movement is at issue," says Gilles Deleuze. "They want to put metaphysics in motion, in action." And we will have the final lines under this Kierkegaard heading stretch out around this Deleuze quote, from his Difference & Repetition (translated by Paul Patton, New York 1994: Columbia University Press, p. 8): "When Kierkegaard speaks of repetition as the second power of consciousness, second' means not a second time but the infinite which belongs to a single time, the eternity which belongs to an instant, the unconscious which belongs to consciousness, the nth' power. And when Nietzsche presents the eternal return as the immediate expression of the will to power, will to power does not at all mean to want power' but, on the contrary: whatever you will, carry it to the nth' power in other words, separate out the superior form by virtue of the selective operation of thought in the eternal return, by virtue of the singularity of repetition in the eternal return itself. Here, in the superior form of everything that is, we find the immediate identity of the eternal return and the Overman."

  

 

 

 

 

I have linked these to this My MSN space.

 

 

 

Julie Guihot Dip. Art Ed., B. A., (Hons.1)

                   Art/Drama Teacher 

                                                        Newcastle NSW Australia,                                                                                 

                  web page:   

                   E-mail: jgjuleg@msn.com

To: Whom it may Concern,

As a mature, creative and enthusiastic potential member of your staff interested in working within your organisation, I can offer you the experience and passion of qualified art teacher and University Drama/Film studies graduate, who has run and marketed a personal business.

I am both focussed and driven with a good general knowledge, and a creative background. I have exceptional research, communication, and writing skills together with a great capacity to liaise, to mediate and learn.

As a graduate with first class honours in Film Studies, I can offer creativity, a good eye for detail, perseverance, patience and determination. My proven research skills display my intelligent, persistence and confidence to obtain, source and verify information.

I have diverse experience, an excellent academic record and I am currently enrolled as a Masters student carrying out research in film studies at the University of Newcastle. This involves preparing and presenting reports and briefs at conferences. I also have the ability to deal with and liaise between a variety of people and situations.

I am conversant with word processing, Microsoft Office, PowerPoint, Windows Explorer and Netscape. Over the years, I have acquired much experience and knowledge through both full-time and part-time work involvements.

In addition, I have also almost completed Certificate IV in Training and Assessment, and have also managed a pet and garden supply shop, been a stage-manager for a number of University productions, have designed and painted backdrops and have built my own web pages and web pages for Nova Auto Innovations and Purple Moon Theatre.

I would be happy to forward a copy of my resume as a first step in exploring the possibilities of employment with your organisation.

Thank you for your consideration.                            

Sincerely,

Julie G

      Julie G.                                                                                                                                     Become aware of your true potential!    

---

In the very Burtonish gothic style of Edward Scissor Hands and Nightmare Before Christmas.. if you loved these movies you MUST see the bride.....

BACKGROUND;

The idea of a  Corpse Bride is a story based on actual events that occurred in 19th century Russia, at a time when anti-semitism was widespread in eastern Europe. Very often bands of anti-semites would waylay a Jewish wedding party on their way to the wedding. And because the bride would be the one to bear future generations, she would be ripped out of the carriage and murdered.

She would then be buried in her wedding gown.

Tim Burton's stop motion animated film is a superb example of the creaft and a delight.

·        This project began evolving, initially because of my interest in the role of metamorphosis as a paradox that discovers resemblance through difference and its role in presenting changing technologies as displays of special effects (SpFX) in film.

·        I am especially interested in what Vivian Sobchack refers to as the “still point of the morph”[1] .

·        According to Sobchack, the remarkable character of metamorphosis, re-shapes individuals’ notions of their identities as it “calls to the part of us that escapes our perceived sense of our ‘selves’ and partakes in the flux and ceaseless becoming of Being.”[1]

·        Sobchack further claims that “the morph is not merely a visible representation of quick and easy transformations of matter in time and space: it is always also an oxymoron, a paradox, a metaphysical object” (p. 136, ibid).

·        Although, Sobchack’s article is about digital morphing, her argument is pertinent to all representations of metamorphosis.  A point she alludes to through her examples, which range from the 1941 film The Wolf Man to Woody Allen’s Zelig and James Cameron’s Terminator II.

·        My project has transformed from a wide overview of metamorphosis in film to the analysis of a single film featuring various transformations.

·        I began by looking at physical transformations that appear in the horror, fantasy and science fiction film genres and subsequently narrowed to focus on science fiction alone. Primarily because, as Sobchack has pointed out, [2] the science fiction genre appropriates culture’s newest technologies, and incorporates them into its own language of special effects.

·        I found this to be a far-reaching project; consequently, I chose to concentrate on a science fiction film that highlights metamorphosis and the importance of social and technological change in film.

·        The film I have chosen is John Carpenter’s The Thing[3]. I chose this particular film because of its ubiquitous tenaciously transforming viscus monster simply called the “thing,” and its dynamic use of visceral special effects (SpFx). 

Chapter one;

Metamorphoses, Things are not always, what they seem.

What do you think are the contributory causes?

What other examples are there of this kind of thing happening?

Is it something new, or has it evolved from something else?

What is metamorphosis and how is it represented in film, why is it interesting or important?

How, where and why metamorphosis is used, what, are the elements/factors/issues involved and what are, if there are any, the differentiations.

What is its purpose?

Do transformations in film have characteristics that are similar to transformations in mythology and literature?

The genres where it is most prevalently use metamorphosis, why it is most prevalent in these genres.

What has been done in the past?

How the changes in technologies that create morphing SpFx have influenced changes within these genres. What does the history of this show?

Animation did not just happen, many steps had to have effect and people contribute to make animation what it is today. Before the advent of the computer animation, all the frames in an animation were done by hand. Each second of animation contains 24 frames, which is an indication of the tremendous amount of work that goes into creating even the shortest of animated films. Initially, it was necessary to make moving images possible, and then develop techniques for creating animations. Here are some of the major milestones that have helped advance the art of animation.

Year                                    Technology

 

1824    Peter Roget presented his paper The Persistence of vision with regard to          

            moving objects to the British Royal Society.

1831    Dr. Joseph Antoine Plateau and Dr. Simon Rittrer constructed a machine

called a phenakitstoscope which produced an illusion of movement by allowing a viewer to gaze at a rotating disk containing small windows, behind which was another disk containing a sequence of images. When the disks were rotated at the correct speed, the synchronization of the windows with the images created an animated effect.

1834    Horner developed the zoetrope from Plateau’s phenakistoscope.

1872    Eadweard Muybridge started his photographic compilation of animals in

            motion.

1887    Thomas Edison started research work into motion pictures.

1897    The history of clay animation appears, when pliable, oil-based modelling clay called “plasticine” was invented.

 

1889    Thomas Edison announced his kinetoscope that projected a 15.24-metre (50-foot) length of film in approximately 13 seconds.

1889    George Eastman began the manufacture of photographic film strips using a

            nitro-cellulose base.

1895    Louis and Augustine Lumiere issued a patent for a device called a

            cinematograph capable of projecting moving pictures

1896    Thomas Armat designed the vitascope that projected the films of Thomas

Edison; this machine had a major influence on all sub-sequent projectors.

1898    Méliès Animated letters using slow camera

1906    J. Stuart Blackton made the first animated film called Humorous phases of

           funny faces.

1908    Emile Cohl produced a film depicting white figures on a black background.

1908    Winsor McCay produced an animation sequence using his comic strip

            character Little Nemo.

1909    Winsor McCay produced a cartoon called Gertie the Trained Dinosaur consisting of 10,000 drawings.

1910    Animated cartoons by   Emile Cohl.

1912    Raoul Barre - a French Canadian painter and cartoonist, introduced the use of standard perforations in the drawing paper, which eliminated jerkiness when moving from one image to the next. He also introduced the slash system which consisted of drawing the background only once leaving blank spaces for character movement and inserting sheets (which illustrated the progressive movement of the character) cut to match the blank spaces.

1912    A black and white animated silent short How a Mosquito Operates debuts produced by Winsor McCay.

Princess Nictoine was filmed using mirrors, camera masks and complicated trick setups.

 

1913    The evolution of cel (short for celluloid) animation;        

            Celluloid animation is created when a background is painted and a clear sheet of celluloid is placed over the top. Moving characters in the foreground were inked in black silhouette and then superimposed in sequence on the background. The use of cell animation meant that fewer artists were needed because it greatly saved the need to paint backgrounds

1913    Pat Sullivan created the cartoon series called Felix the Cat. J.R. Bray devised  

            Colonel Heeza Liar, and Sidney Smith created Old Doc Yak.

1915    Earl Hurd developed cel animation

1917    The International Feature Syndicate released many titles including Silk Hat

             Harry,Bringing Up Father, and Krazy Kat.

1918    First animated feature film The Sinking of the Lusitania by Winsor McCay.

1923    Walt Disney extended Max Fleisher’s technique of combining live action with

             cartoon characters in the film Alice’s Wonderland.

1926    Lotte Reiniger produced Prince Achmed the first feature-length animated film.

1927    Warner Brothers released The Jazz Singer, which introduced combined sound and images.                                                                                                                                                    1928    Walt Disney created Mickey Mouse the first cartoon with synchronized sound.

1930’s             Colour animation, with the introduction of colour in the early 1930’s artist began to use opaque paints in place of the black ink. Examples of colour cel animation are Walt Disney’s Fantasia and Snow White. Snow White used a layering of many pieces of celluloid on which one character was painted, leading to a feeling of depth to the finished animation as characters moved over or behind each other. It was also the first full length feature cartoon.

1943    John and James Whitney produced “Five Abstract Film Exercises”

1945    Harry Smith produced animation by drawing direct onto film.

1950’s             Automated Rostrum Camera     These cameras were improved during the 1950’s and were suspended on a stand above a horizontal table where the background and cels are photographed in sequence. Panning and Zooming were also possible.

1957    John Whitney used 17 Bodine motors, 8 Selsyns, 9 different gear units and 5  ball integrators to create analogue computer graphics.

1960’s             Computer animation      Films showing abstract colour designs in motion were

            programmed using a computer.

1961    John Whitney used differential gear mechanisms to create film and television

            title sequences.

1964        Ken Knowlton, working at Bell Laboratories, started developing computer techniques for producing animated movies.

1965    Filmation produces the series Superman.

Shocking Pink - an animated short, stars the Pink Panther and was produced by Friz Freleng

Richard Williams produced the animated title sequences for the movies What's New Pussycat? and The Liquidator.

Computer graphics was introduced into the automotive and aircraft industry for use in design.

Bill Melendez animated A Charlie Brown Christmas which won an Emmy.

Tony Conrad produced the film The Flicker in which he alternated simple black and white frames with different widths which resulted in the projection of different illusions of light and manipulated the diffusion of light into imaginary forms

Al Sens - a Canadian, produced The See, Hear, Talk, Think, Dream, Act Film using a 'split technique' which consisted of drawings and erasing images directly in front of the camera.

The Japanese production company Mushi released its first colour animated series Jungle Taitei (The Emperor of the Jungle).

 

1972 University of Utah, Ed Catmull develops an animation scripting language and creates an animation of a smooth shaded hand. Ref: E. Catmull, “A System for Computer Generated Movies,” Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1972 University of Utah, Fred Parke creates first computer generated facial animation. Ref: F. Parke, “Computer Generated Animation of Faces,” Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1974 National Research Council of Canada releases Hunger/La Faim directed by Peter Foldes and featuring Burtnyk and Wein interactive keyframing techniques. Ref: N. Burtnyk and M. Wein, “Interactive Skeleton Techniques for Enhancing Motion Dynamics in Key Frame Animation,” Communications of the ACM, 19(10), October 1976. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1982 Tron, MAGI, movie with CG premise 

1983 Bill Reeves at LucasFilm publishes techniques for modeling particle systems. E.g. Star Trek II: The Wrath of Kahn. The paper also promotes motion blur. Ref: W. Reeves, “Particle Systems -- A Technique for Modeling a Class of Fuzzy Objects,” Computer Graphics, 17(3), July 1983. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1984 The Last Starfighter, CG is used in place of models 

 

Pixar Shorts
1984 The Adventures of Wally and Andre B
1985 Pixar splits from LucasFilm
1986 Luxo Jr.
1987 Red's Dream
1988 Tin Toy
1989 KnickKnack
1998 Geri's Game
2001 For the Birds

 

1984 Porter and Duff at Lucusfilm publish paper on digital compositing using an alpha channel. Ref: T. Porter and T. Duff, “Compositing Digital Images,” Computer Graphics, 18(3), July 1984. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1985 Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation. Their techniques are used in the animation Eurythmy. Ref: M. Girard and A. A. Maciejewski, "Computational Modelling for the Computer Animation of Legged Figures,” Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1985 Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. Ref: K. Perlin, “An Image Synthesizer,” Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1987 John Lasseter at Pixar publishes a paper describing traditional animation principles. E.g. Andre and Wally B and Luxo Jr. Ref: J. Lasseter, “Principles of Traditional Animation Applied to 3D Computer Animation,” Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1987 Craig Reynolds then at Symbolics (now at DreamWorks SKG) publishes a paper on self-organizing behaviour for groups. E.g. Stanley and Stella and Batman Returns. Ref: C. W. Reynolds, "Flocks, Herds, and Schools: A Distributed Behavioural Model", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1988 Willow uses morphing in live action film 

1990’s             Computer animation is able to create intricate movement and background designs. It works using an electronic surface sometimes called a Paintbox, on which the artist draws figures and backgrounds and selects colours. The figures can then be manipulated using various tools. The Disney film Beauty and the Beast used computer animation to create the ballroom scene background so that the filmic techniques of panning, zooming and tracking could be used during the dance sequence. The background would therefore maintain its perspective. The technique requires significantly fewer animators and has the potential to eliminate the jobs of cel copyists and painters.

 

1992 Beier and Neely, at SGI and PDI respectively publish an algorithm where line correspondences guide morphing between 2D images. E.g. Michael Jackson video clip Black and White. Ref: T. Beier and S. Neely, “Feature-Based Image Metamorphosis,” Computer Graphics, 26(2), July 1992. (In the SIGGRAPH 98 Seminal Graphics collection.)  

1993 Chen and Williams at Apple publish a paper on view interpolation for 3D walkthroughs. Ref: S. E. Chen and L. Williams, “View Interpolation for Image Synthesis,” Computer Graphics Proceedings, Annual Conference Series, 1993. (In the SIGGRAPH 98 Seminal Graphics collection.) 

1993 Jurassic Park use of CG for realistic living creatures    

1995 Toy Story first full-length 3D CG feature film

2000’s More Computer Graphics & Animation

Computer animation is the use of computers to create animations. There are a few different ways to make computer animations. One is 3D animation. One way to create computer animations is to create objects and then render them. This method produces a 3-dimensional look in animations. Another way to create computer animation is to use standard computer painting tools and to paint single frames and composite them. These can later be either saved as a movie file or output to video. One last method of making computer animations is to use transitions and other special effects like morphing to modify existing images and video.

Computer graphics are any types of images created using a computer. There are infinite types of images a computer can create and many ways of creating these images. Images created by computers can be very simple, such as lines and circles, or extremely complex such as fractals and complicated rendered animations.

Most psychological and sociological studies in relation to violence agree that violence can be divided into a number of categories including, physical, emotional and psychological. Violence assaults the senses and the soul of both the victim and perpetrator; it has circles of influence measured subjectively by degree and intent, and is a tool to gain power over others.

 Physical Violence includes such things as any use of size, strength, weapons or presence to control or hurt someone else and is often seen portrayed most spectacularly and graphically by the cinema.

• Special effects (SPFX) are one of the elements of cinema that make movies magical.
• Filmmakers often use these tools to imagine the impossible and to shape the viewer’s “suspension of disbelief belief” so that they believe what we are seeing is real.
As can be seen by Dan Browns’ CBC News Online comment, Jan. 13, 2004 in his article Special effects become Mannerist a number of film critics believe the new computer imaging frenzy for blockbusters is on the way out. The reasoning behind this appears to be that these super CGI effects films are beginning to look more the same with an emphasis on more violence, insipid narratives, more hackneyed plots and one-dimensional characters. On the other hand, some critics and theorists are saying that the digital revolution will see the end of cinema as we know it, fundamentally altering the way we make, see and receive film.  Lev Manovich for example says, “A visible sign of this shift is the new role which computer generated special effects have come to play in Hollywood industry in the last few years. Many recent blockbusters have been driven by special effects; feeding on their popularity. Hollywood has even created a new-mini genre of ‘The Making of...’ videos and books which reveal how special effects are created.”