The editor as animation inbetweener

With digital compositing and digital special effects, the traditional edits of cut, dissolve and wipe, are being augmented by a more complex, yet liberating, creative process. This paper will explore how the language of film editing may be shifting and evolving due to new tools at the filmmakers disposal (and the ease with which to use them).

With the convergence of all media into the digital realm, the distinctions between animation and live-action filmmaking are continuing to blur. In fact, editing live-action film is now often similar to the process of animation. In many ways, the film editor is becoming like an “animation-inbetweener, ” of the “key posses” that have been “drawn” by the cinematographer.

This new animator/compositor/editor uses a variety of methods for creating inbetweens in order to connect two distinctly different scenes. These can include the use of; morphing, animated mattes, digital animation, and controlled complex dissolves. Not only can this process create a unique visual style, but in addition, new languages can also be explored.

Eisenstein was very interested in how new meanings can be created by the linear juxtaposition of distinctly different scenes. But what does it mean when these two scenes are allowed to evolve into each other?

Furthermore, the editor, can now easily allow selected elements to transcend between shots. It is now possible for the editor to decide what portions of the scene are most important, and what the viewer should take with them into the next scene. What should be highlighted, or what elements should be suppressed.

In order to illustrate these ideas, this paper will look at the earlier film editing theories of, Eisenstein, Pudovkin and G.W. Pabst, and the traditions and theories of animation. It will also showcase contemporary compositing/editing examples.

Hope

In his second documentary on the trials of refugees to Australia, Steve Thomas tells the story of a maritime tragedy in October 2001. Amal Basry, (Amal means Hope) an Iraqi passenger on a people smuggling boat called Siev X destined for Australia, tells how it sank between Indonesia and Australia. Out of the 400 people crowded on the boat, 350 people drowned. As a survivor she fights to ensure that the disaster is not forgotten and to reunite her family. She tells of her terrible ordeal and her new life in Australia reunited with her husband and two sons.

The struggle for the body, mind and soul of AFL footballers

"The book discusses the profound, often troubling, always complex struggles for the body, mind and soul of elite performers in contemporary sports entertainment environments. This struggle is shaped by two powerful processes. On the one hand we witness the translation and application of a range of rationalities and knowledges from fields such as psychology, sport science and medicine, dietetics, education and management. All of which have the consequence of subjecting elite performers to often intrusive regimes of measurement, testing, medical intervention, surveillance, education and regulation in the pursuit of performance and success. At the same time we can identify ways in which the commodification of sports/games, the drive to develop and grow as a sports entertainment business and the pursuit and maintenance of a media presence and profile on which brand relationships can be established and grown has the consequence of transforming elite performers into highly paid sports celebrities whose image, persona and brand is positioned in a crowded, highly competitive marketplace to be scrutinised, judged and consumed.
[The] struggle that takes on new dimensions in the evolution of sports/games into global sports entertainment industries and businesses....The book reveals new insights into the tensions that emerge between different levels of the AFL sports entertainment industry about what it means to be a professional footballer at the start of the 21st century. The book analyses aspects of this struggle for the body, mind and soul at different stages in a playing career."--Media release.

The body of Christ : blasphemy as a necessary transgression

This chapter was originally prefaced with an audio-visual presentation showing key scenes from Martin Scorsese’s film, The Last Temptation of Christ, cut to the folk hymn, ‘Go Tell Everyone’, which is reproduced below. The video segued into a short duologue, which dramatised the ambiguity inherent in God’s call. The presentation concluded with the same hymn accompanied by images of the poor, the marginalised and the powerful.

TV educational program unit generation

This paper deals with the TV educational media production. The main objective is to simplify production process and increase productivity. A resource management methodology is proposed. The proposed system is mainly a database of scenes and scripts (procedures) that make the TV Educational Program Unit (TVEPU). The system needs two levels of preparation. The first, which is the primary effort, is done to initiate the scenes database. The second preparation is a continuous work, is done through the system operation, updating, and maintenance. The database initiation contains the analysis and breakdown of the available material to small ingredients that constitutes the starting molecule. This molecule will be used to prepare simple and short units (TV educational program units). By the time and use of the system, the database will enlarge. This will increase system productivity and modify production quality.

A boarding school outbreak of pertussis in adolescents : value of laboratory diagnostic methods

Culture for Bordetella pertussis (B. pertussis) is the traditional gold standard for laboratory diagnosis of pertussis but is insensitive, especially later in the course of illness and in vaccinated persons. Interpretation of serology is limited by the lack of an appropriate reference standard. An outbreak of pertussis in a crowded boarding-school dormitory allowed evaluation of laboratory correlates of infection. Questionnaires, serum samples and throat swabs were collected from members of the exposed group. Serum samples from unexposed controls of a similar age group were used for comparison. B. pertussis PCR was performed on throat swabs, and sera were tested for IgA antibodies against whole-cell (WC) B. pertussis antigen and IgG antibodies to pertussis toxin (PT). The Centers for Disease Control and Prevention definition for pertussis was used to define clinical cases. We evaluated the use of a previously published cut-off for PT IgG of 125 EIA units (EU)/ml. Completed questionnaires were obtained from 115 students, of whom 85 (74%) reported coughing symptoms, including 32 (28%) who met the clinical case definition for pertussis. B. pertussis was detected by PCR in 17 (15%) and WC IgA in 22 (19%) students; neither correlated with symptoms, but dormitory of residence strongly predicted PCR status. The mean PT IgG geometric mean concentration, in this situation of high pertussis exposure, correlated with severity of symptoms and was significantly higher in both symptomatic and asymptomatic children exposed during the outbreak (P<0·001) than in control children. A cut-off for PT IgG of 125 EU/ml was too high in an outbreak situation to be sensitive enough to identify pertussis cases. A case of pertussis in a crowded boarding-school dormitory resulted rapidly in an outbreak. Serology and PCR were useful in identifying the outbreak and commencing disease control measures. The use of serology has mostly been evaluated in community serosurveys, where it is not possible to determine if immunity reflects vaccination, asymptomatic disease or symptomatic disease. This outbreak gave us the opportunity to evaluate the value of serology and PCR in the presence of confirmed exposure to pertussis.

Making it real : pre-service music teacher education students ideas about artists-in-schools

Globally teacher educators try to prepare culturally inclusive students in an ever-crowded curriculum It is difficult to give students in-depth experiences of other musics and their cultural contexts. In schools, teachers are also faced with the. same challenges. This shortfall may be met by artists-in-schools programs. This paper focuses on the perceptions of pre-service music educators concerning artists-in- schools programs. The study builds on ongoing research (2003-2008), Intercultural attitudes of preservice music education students, between Deakin and Monash universities. Australia only the 2008 interviews (analysed using interpretative Phenomenological Analysis) are discussed. The paper reports only on one aspect that underpins artists-in-schools programs — the importance of authentic practice. Although international studies have, provided insights into artists-in—schools programs little attention has been paid to pre-service specialist music teacher understandings of such programs. It is imperative to know the attitudes that our teachers carry with theta into their future professional engagement The findings of this study provide insight into the need br artists-in-schools programs and the ways in which teachers can link theory to practice, fill in omissions in their own knowledge, skills and understandings. and also heighten student understandings of multicultural musics.

Do public investments crowd out private investments? Fresh evidence from Fiji

In this paper, we investigate whether government investment crowds out or crowds in private investment for Fiji over the period 1950–2001. We begin by searching endogenously for break points in the data series using the Zivot and Andrews [J. Business Economic Stat. 10 (1992) 251–270] test. Upon finding that 1975 is the statistically significant break date, we divide the sample into two. Using the error correction mechanism test, we find that government and private investments are cointegrated over the period 1950–1975, but not for the period 1976–2001. We also find that in the former period government investment has crowded in private investment, while in the latter period the relationship between government and private investments has been statistically weak.

H2

Cut down to 16mm from a 35mm trailer for the movie Shaft, the slowed down voice, gunshot explosions and lsaac Hayes' iconic music become barely recognisable and monstrous. The arbitrary framing provides glimpses of the edges of faces, fleeting urban scenes, partial text, all rendered in cyan negative in a kind of psycho-dramatic abstraction, all the more unsettling than Gordon Parks's originating gangster populated dystopia. It is a reminder of how, by simply repositioning the frame, extant material can be transformed.

Daylight for sustainable development of historic sites

Consideration of daylight is one of the contextual ingredients for maintaining a sustainable identity when intervening in a heritage site. Appropriate consideration of daylighting ensures not only visual and thermal comfort in the urban setting, but also contributes to the preservation of the place visual identity. The historic district of el Darb al-Asfar is undergoing a rehabilitation project that raises questions about the new ‘sparking’ look of the place. The ongoing cultural debate in old Cairo on the extent of success of the rehabilitation efforts in preserving the place identity identified a gap in literature regarding the ingredients that constitute identity in heritage settings. The paper argues that the project using new finishing materials of facades has led to changes in daylight levels in the space and hence the visual perception of the place itself. This paper aims to assess the impact of such intervention on the visual perception and the space identity. A digital model is built utilising a combination of photogrammetric and 3D digital technique. The TOWNSCOPE simulation package is used to trace the performance of direct, diffused, and reflected components of daylight within the original and recently resorted scenes. The output of the simulation exercise has been validated by empirical data. The paper concludes by suggesting a set of measures for achieving an appropriate daylight performance in heritage sites Eastern Mediterranean climatic conditions.

“… what lies behind a brownstone front”

After entering the nondescript door to her building, ordinary Oliver Reed follows Irena Dubrovna as she ascends the ornate stairs that lead to her front door. He hovers at the foot of the stairs, and rhetorically admits: “I never cease to marvel at what lies behind a brownstone front.” Behind each façade lies something hidden. What lies hidden from Oliver Reed in Cat People (1942) are the dormant stories waiting behind each door. This article is based on my presentation at the 2009 Double Dialogues Conference, Hidden Stories, held in Melbourne, December 2009. In the Conference presentation, the early scenes from Cat People were screened with the film sound interspersed with my commentary. This article uses still frames from the film, descriptions from the original screenplay (in courier font) and the storyboard layout for a DVD commentary.

Spectres in the city –De Chirico’s mythologized streetscapes

It is generally accepted that some of the unsettling scenes of the Italian metaphysical painter Giorgio de Chirico, arose from his response to the northern Italian city of Turin, a city he claimed a great affinity with. While de Chirico’s paintings and commentary of this period abound with references to Turin, there has been little investigation into how genuine these citied locations really are. We know that de Chirico’s preference for Turin arose from his passionate engagement with the writings of the philosopher
Friedrich Nietzsche and Nietzsche’s fondness for the city. Yet there is much evidence to suggest that Munich, the city of de Chirico’s early art school days permeated his imagery more completely; whereas Turin reflected his philosophical and aesthetic concerns. This article examines how cities have operated for the artist and how using iconography from both the world of the real and imagined produced powerful enigmatic images that evoked a profound mood of illusion and revelation.

The streets of Iraq : protests, the public sphere and democracy

Since the invasion of Iraq by Coalition forces in 2003, much attention has been paid to the violence ravaging Iraq’s streets, so much so that they have become synonymous with bloodshed and chaos. This paper begins by countering this prominent view with a brief outline of some of the more positive scenes that have played out on Iraq’s streets, including the successful elections of 2005 and 2009. The bulk of the paper builds on this discussion to detail the various protest movements that have emerged across Iraq since 2003, including those organised by Shia clerics, minority movements, women’s organisations and Iraqi worker unions. This paper concludes by arguing that the willingness of normal Iraqi citizens to exercise their democratic right to protest indicates the degree to which democratic ideals are taking hold in Iraq and represents a fundamental step towards a more peaceful and inclusive future.

Jane Campion

Jane Campion, one of the most celebrated auters of modern cinema, was the first female director to be awarded the prestigious Palme d'Or. In this first detailed account of Jane Campion's career, Verhoeven examines how contemporary film directors 'fashion' themselves as auters- through their personal interactions with the media, in their choice of projects, emphasis on particular filmmaking techniques and finally in the promotion of their films. Through analysis of key scenes from Campion's films such as The Piano, In the Cut, Sweetie and Holy Smoke, Verhoeven introduces the key debates surrounding this controversial and often experimental director. Features a career overview, a filmography and an extended interview with Campion on her approach to creativity.

e-learning through digital theatre : breaking down the tyranny of distance and limits of location

In this article, we report on a cross-disciplinary, cross-cultural digital exchange project between Australian Drama and Education students and Dutch English Language and Culture students, and examine the impact of the place-independent, technology-mediated communications and collaboration on their learning trajectories. The intensive, intercultural collaboration between the two groups of students resulted in a 50-minute group-devised, digital theatre play entitled Quarter Acre Dreaming. This play, performed through live interactive media by both Dutch and Australian students, traced the historical development of the Australian suburb, while integrating scenes of Dutch immigration into Australia. In the creative process, the students on either side of the globe interacted through Computer-Mediated Communication (CMC), and used videoconferencing and Skype for live rehearsals and discussions to advance their learning of English, their performance repertoire and cross-cultural understanding.