International Perspectives on Business Innovation and Disruption in the Creative Industries : Film, Video and Photography

This volume examines how disruptive innovations are reshaping industry boundaries and challenging conventional business models and practices in the industries for film, video and photography. The thirteen chapters provide a rich and diverse account of these processes from a wide range of country contexts. The book fills the gap between the study of disruption by innovation scholars in business schools and the recognition of disruption by academics and practitioners from non-business school disciplines and contexts, including the broader social sciences.

Racism, Representation and Photography

Representation of Aborigines by Aborigines and non -Aborigines; articles by Andrew Dewdney, Mervyn Biship, Alana Harris, Sandy Edwards, Rea Saunders, Ricky Maynard , Brenda Croft, Ruth Braunstein, Michael Riley, Huw Davies, Penny Taylor, Darlene McKenzie, Kurt Brereton and Eric Michaels, annotated separately.

A dynamic navigation model for unmanned aircraft systems and an application to autonomous front-on environmental sensing and photography using low-cost sensor systems

This paper presents an unmanned aircraft system (UAS) that uses a probabilistic model for autonomous front-on environmental sensing or photography of a target. The system is based on low-cost and readily-available sensor systems in dynamic environments and with the general intent of improving the capabilities of dynamic waypoint-based navigation systems for a low-cost UAS. The behavioural dynamics of target movement for the design of a Kalman filter and Markov model-based prediction algorithm are included. Geometrical concepts and the Haversine formula are applied to the maximum likelihood case in order to make a prediction regarding a future state of a target, thus delivering a new waypoint for autonomous navigation. The results of the application to aerial filming with low-cost UAS are presented, achieving the desired goal of maintained front-on perspective without significant constraint to the route or pace of target movement.

Introduction to "International Perspectives on Business Innovation and Disruption in the Creative Industries Film, Video and Photography"

The creative industries are particularly fecund empirical fields for investigating the processes of business innovation and disruption. The creative industries are some of the fastest growing sectors in many economies (European Commission, 2001; OECD, 2006; United States Census Bureau, 2010) and thus are worthy of study in their own right. Additionally, the study of the creative industries affords insights into how we understand the current economic transformation towards knowledge- based economies more broadly. The transformation toward knowledge- based economies has been foreshadowed by the transformation of creative industries such as publishing, film, video, photography, music and so on...

Who's who in commercial art and photography; a guide to artists, photographers, agents, studios, representatives and buyers of art in the graphics field.

Mode of access: Internet.

The chemistry of light and photography in their application to art, science, and industry.

Mode of access: Internet.

Qu'importe : une faute au texte ; suivi de Mécanismes et dialogisme photographique dans Crimes passionnels et Darlinghurst Heroes d'André Martin

Toutes les photographies présentes à l'intérieur de ce mémoire ont été prises par l'auteur de ce dernier.

Stillness and movement: a bodily approach to photography

My paper will address both Duration and temporality of the ‘still’ imageand Sensorial and bodily experience of photography through a discussion of a recent body of work ‘Fly Rhythm’, a series of photographs and video works exhibited in a gallery context.By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between performance and photography. Fly Rhythm was conceived through a performative somatic process. Through using a custom made camera I was able to negotiate time and space to create a visual drawing of movement and stillness together in photography. The resultant images are discussed as a notation of body movement – a record of bodily history enabled through a self imposed discipline of learning to read light.I initially constructed a human size camera to understand how photography works. Spending time inside observing the way light moves and affects the formation of sight is also a way of embodying the act of photography. I responded by making a bespoke camera that enabled light to be captured during extended periods while moving. My project is dependent upon a self-imposed discipline of intuiting light’s strength and erratic changes, a skill developed by making analogue prints while inside a camera obscura. Once I had developed an ability to read light’s changes and gain an understanding of camera mechanics I made durational recordings moving through the landscape on Bruny Island Tasmania and industrial sites in Melbourne, photographs exhibited as part of Fly Rhythm. I will discuss these prints in context with the idea that light is a conduit through which past and present fuse together in a bodily act of photographing and processing images.I will explore durational aspects of photography by discussing light’s relative motion while taking photographs without using the viewfinder or composing images in the traditional way. Rather, the camera at the end of my arm is directed through how I read light therefore a choreography notated in the prints – a kind of body signatureMy practice enables a new the way of seeing, in a spontaneous hand held process creating a sense of embodiment. By analyzing process my paper will consider how the body together with analogue and 21st century digital technology coalesce cross-disciplinary practice combining visual art, performance and photographic disciplines.I also explored limitations of digital light in contrast with ‘natural’ light by a making a gamut of dissolving colour determined by the software based on two pixels. Projected into the ambient light ‘Glide’ is an 11minute durational work installed at the Substation Contemporary Art Space in Melbourne Australia.

An Ethical History of Photography in Combat and of Combat Photography in the United States during World War II

With the United States‘ entry into the Second World War, the word ?censorship? was seen largely as antithetical to, rather than a necessary counterpart to, victory among Americans. People did not want to be censored in their writing, photographs or speech,but it proved to be necessary even before the war began, in order to protect government secrets and the people on the home-front from scenes that were too disturbing. Even before the war had officially begun, there were problems with censorship among journalists and newspapers. The initial response of outrage in reference to censorship in the United States was common among journalists, newspapers, magazines, and radio news; nevertheless, there was a necessity for censorship among Americans, on the home frontand the front lines, and it would be tolerated throughout the war to ensure that enemies of America did not gain access to information that would assist in a defeat of the United States in the Second World War. The research I have conducted has dealt with the censorship of combat photography during World War II, in conjunction with the ethics that were in play at the time that affected the censors. Through exploring the work of three combat photographers — Tony Vaccaro, James R. Stephens and Charles E. Sumners — I wasable to effectively construct an explanatory ethical history of these three men. Research on the censorship and effects it had on the United States brought me to three distinctareas of censorship and ethics that would be explored: (1) the restrictions and limitations enforced by the Office of Censorship, (2) a general overview of war and photography as it influenced the soldiers and their families on the home-front, (3) and the combat photographers and personal and military censorship that influenced their work. Although their work was censored both by the military and the government, these men saw the war in a different light that remained with them long after the battles and war had ceased.Using the narratives of Tony Vaccaro, Charles E. Sumners and James R. Stephens as means for more in depth research, this thesis strives to create lenses through which to view the history and ethics of censorship that shaped combat photography during the Second World War and the images to which we refer as representative of that war today.