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Search Results for stop-motion animation
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Camera Obscura (2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
... , and Bright Lights Film Journal . © 2016 by Camera Obscura 2016 Lift Animation Lantern Software stop-motion animation collectivity disability Figure 1. Lantern (Lift Animation, US, 2013) IN PRACTICE Collectivity in (Stop-)Motion...
Camera Obscura (2012) 27 (2 (80)): 165–175.
Published: 01 September 2012
... the apartheid roads that crisscross the contemporary Palestinian landscape. An installation across six screens (on three double- sided walls), the lm was shot in stop- motion animation at one frame per second, the effect of which is similar to watching a series of (moving) stills on landscape...
Camera Obscura (2020) 35 (3 (105)): 60–87.
Published: 01 December 2020
... attention to form, seen in her use of time- lapse, stop- motion animation, layered audio tracks, and accel- erated motion, vastly departs from the formlessness for which the mode of the diary has so often been derided. In fact, I ultimately argue that Robertson engages in a practice of subversive world...
Camera Obscura (2002) 17 (2 (50)): 1–39.
Published: 01 September 2002
... feature of the new medium, as was stop-motion animation; both techniques were of crucial importance to the imagination of conta- gion, with its emphasis on visually representing the invisible. Sub- stantial use was made of these representational strategies in the ﬁelds of medicine and science; indeed...
Camera Obscura (2023) 38 (1 (112)): 81–101.
Published: 01 May 2023
... kind of reproductive labor that surpasses what documentary alone can achieve. To invoke Engel's description once more, Breer's film takes us near the work and what happened that night without rhetorically claiming to provide unmediated access. Between each frame of the stop-motion animation...
Camera Obscura (1988) 6 (2 (17)): 133–154.
Published: 01 May 1988
... by Broadcast Arts for the sponsors, the manufacturers of Fruit-Flavored Trix, for example. All of these bear the distinctive Broadcast Arts look, which combines live action filmmaking with a variety of special effects techniques, including clay animation, stop-motion animation, cel animation, motion...
Camera Obscura (1977) 1 (2 (2)): 50–66.
Published: 01 September 1977
... To stop the moving image of an animated film is not to subvert mean- ing in the same way as Roland Barthes and Sylvie Pierre understand it: i.e. the fracturing of the communication-signification order. But to freeze the image, is to subvert (literally: to reverse) meaning (here, direc...
Camera Obscura (1976) 1 (1 (1)): 128–139.
Published: 01 May 1976
... surface. lHE DISAPPEARANCE OF SUE (1972) 2 min.; color; 16 mm. "A stop-motion improvisational game involving my sister Susan some of our favorite locales there's no other excusefor it. " (Laughlin) Has been teaching animation and "basic studies" at the Minneapolis College of Art...
Camera Obscura (2014) 29 (2 (86)): 85–117.
Published: 01 September 2014
... (1906) he developed his skills in stop-motion photography and animation. In The Battle of Manila Bay (1898), one of Vitagraph’s many Spanish-American War reenactments, Blackton blew cigar smoke in front of the camera to obscure the hokey quality of the film’s production materials...
Camera Obscura (1983) 4 (2 (11)): 28–59.
Published: 01 September 1983
... see, in relation to what the stopped film, manipulated and reduced to its basic patterns, shows: the most fantasmic transformations, beginning with the bird, between the genital parts ofthe two sexes. This division is a cleavage which only the animator and the analyst (' 'the disanimator") can...
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
...Melissa Ragona Abstract This essay examines the central position the medium of sound played in the work of the artist Carolee Schneemann (US, 1939–2019). By exploring a few key early works such as Glass Environment for Sound and Motion (1962), Chromelodeon (1963), and Noise Bodies (1965), it traces...
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Camera Obscura (2006) 21 (3 (63)): 103–133.
Published: 01 December 2006
... American animation. Generating a chronophotograph of typing in the Gilbreth studio/laboratory. Rather than producing the illusion of motion, here the motion-picture camera is used to deanimate the working woman’s body. Courtesy of the Frank and Lillian Gilbreth Library of Management, Purdue...
Camera Obscura (2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
... of Hammer’s Women I Love shoot.22 The earlier lm presents a series of portraits of Hammer’s ex- lovers (and in one case a friend) interspersed with stop- motion animated sequences in which single fruits and vegetables morph from whole to “core,” • Camera Obscura for example, a head of lettuce...
Camera Obscura (1999) 14 (3 (42)): 96–123.
Published: 01 September 1999
..., if you hesitate, your heart will stop beating. Your legs are machines winding you up like a mechanical toy. If your legs stop moving, your taut spring will run down and you will fall over, a lump without motion" (83-84). 31. On this account see Dispatches (New...
Camera Obscura (2005) 20 (2 (59)): 119–163.
Published: 01 September 2005
... an appreciation of an even more emphatically physical and kinetic mode of spectator engage- ment. After having viewed a geological tour of France and then a slow motion sequence of seagulls in flight (a likely reference to a Marey-inspired film), the young audience experienced another of the cinema’s...
Camera Obscura (1990) 8 (3 (24)): 98–124.
Published: 01 September 1990
... (taken at the very moment it hap- pens) of Joshua bringing the sun to a stop, for example. Villiers de 1’Isle-Adam, L‘Eve Future (Thomas Aha Edison) There is one category of time...
Camera Obscura (2021) 36 (1 (106)): 127–153.
Published: 01 May 2021
... history. 16 The women walked arm in arm in rows on the red carpet; Varda is pictured with Céline Sciamma and the female jury members Kristen Stewart, Léa Seydoux, Khadja Nin, Ava DuVernay, and Cate Blanchett ( fig. 2 ). 17 The women stopped and stood halfway up the red carpet steps to the Palais des...
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Camera Obscura (2016) 31 (1 (91)): 175–185.
Published: 01 May 2016
...” into a self-reflexive motion of enacting, enabling, and engaging. The communicative and interchangeable relationship between “the enunciation and the enunciated” that Wang observes in China’s DV filmmaking is consciously played and replayed in Zhang’s performance,6 which serves as mediation between...
Camera Obscura (1980) 2 (3 (6)): 90–110.
Published: 01 December 1980
... to look at it in slow motion several times in order to make out the direction of the arrow’s fight.) The possibility of a reversal of seeing (of power) is thus rep- resented by the flash of an arrow, invisible under normal viewing con- dtions; it is a tiny incision, immediately...
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
.... In another vein, Kunuk’s Aqtuqsi (My Nightmare, Canada, 1996) deploys a surrealist mode of experimental filmmaking — combining stop-motion ani- mation and black-and-white photography — in depicting the story of a young girl’s dream. The scenes set in the waking world are shot in black and white...