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This article investigates the role of perception in film editing, considered as audiovisual design work. The study is an observation of a film editor editing a documentary film sequence, where the perceptual phenomena at stake at edit points are scrutinized, with reference to perception theory. The results show that the film editor's design goal is to achieve perceptual precision for each edit, either for continuity or for discontinuity, accordingly. The more perceptual phenomena per edit, the more time and the more processing the editor has to spend on the edit until satisfied with the result. This knowledge is of importance to inexperienced film editors in order to make the editing process faster and more precise and thus shorten production time. In the wider design context, other design activities are indicated to find inspiration for future research in this study, regarding perceptual phenomena and gaze framing during design processes. [ABSTRACT FROM AUTHOR]

Movies have changed dramatically over the last 100 years. Several of these changes in popular English-language filmmaking practice are reflected in patterns of film style as distributed over the length of movies. In particular, arrangements of shot durations, motion, and luminance have altered and come to reflect aspects of the narrative form. Narrative form, on the other hand, appears to have been relatively unchanged over that time and is often characterized as having four more or less equal duration parts, sometimes called acts - setup, complication, development, and climax. The altered patterns in film style found here affect a movie's pace: increasing shot durations and decreasing motion in the setup, darkening across the complication and development followed by brightening across the climax, decreasing shot durations and increasing motion during the first part of the climax followed by increasing shot durations and decreasing motion at the end of the climax. Decreasing shot durations mean more cuts; more cuts mean potentially more saccades that drive attention; more motion also captures attention; and brighter and darker images are associated with positive and negative emotions. Coupled with narrative form, all of these may serve to increase the engagement of the movie viewer. [ABSTRACT FROM AUTHOR]

When Chilean-born Raúl Ruiz (1941–2011) came to adapt Proust'sTime Regainedin 1999, he hit upon the idea of using three actors to play three Prousts (as child, as adult and as narrator), and to combine them, at times, in the same frame. This was, in fact, the fruit of long-term exploration in his career: already a key element in his television seriesManoel on the Island of Marvels(1984), and persisting to his final work,Night Across the Street(2012). Ruiz had an unusual conception of time, actuality and character: such multiple incarnations had little to do with subjective memory, and everything to do with experimental physics on one hand, and modernity on the other. This article will explore, through several examples, the profoundly figural conception of character in Ruiz's cinema. [ABSTRACT FROM AUTHOR]

This article examines Eduardo Coutinho'sJogo de Cena(2007) in relation to documentary spectatorship across cultures. Coutinho's documentary contains numerous culturally specific and localised references amongst the stories told by a cast of women actors. These stories and the figures that relate them make available a number of layers of knowledge production constituting a filmic experience that is multivalent and complex. In considering these complexities and their spectatorship, this article utilises Paul Willemen's notion of comparative film studies as a springboard to begin a closer consideration of what is possible with a combination of Brazilian cultural knowledge and documentary film theory. [ABSTRACT FROM AUTHOR]

This article reconsiders the impact of émigré artist Hein Heckroth on production design. His designs for the acclaimed colour film The Red Shoes (1948), in particular, are interesting in that continental European and British notions of modernism coalesce, as well as different media. Drawing on previously unknown family-owned papers, the essay traces the development of Heckroth’s work at the intersection of design, film and avant-garde art in a transnational context. Having been trained as a typographer and painter, he came to design sets for theatre, ballet and eventually motion pictures. Being in charge of the design department at Michael Powell and Emeric Pressburger’s film company The Archers, he combined his artistic vision with the commercial requirements of the film industry. The outcome was a remarkable design that not only differed from the stark realism of European post-war cinema but prompts questions about the validity of film authorship concepts that tend to neglect the role of designers. The case of Heckroth thus provides a lens through which to study design in terms of shifting notions of artistic expression, displacement and modernism. This is particularly apparent through his acquaintance with important figures such as Alan Jarvis and Herbert Read. [ABSTRACT FROM PUBLISHER]

In scholarship on design and cinema (itself an ignored area), the relationship between film and art nouveau has been almost entirely overlooked. Born in the same era as cinema, the movement's influence can, however, be found in the trick and féerie films of Segundo de Chomón-a Spanish director working for Pathé in France. [ABSTRACT FROM AUTHOR]

This is a short overview of Starz Animation's production process for Shane Acker's debut animated feature, 9. The film was challenging to make because it was done on a small budget and a limited time frame and required a high degree of invention and creativity to address the issues raised without compromising the quality of the film. The piece details some of the ways in which we approached problems, and how we developed solutions, especially in relation to character design, art direction and workflow in the production pipeline. It seeks to offer an insight about a smaller studio seeking to make a 'Hollywood'-style animated feature that can stand up against the work of major studios like Pixar and Dreamworks, and also find a crossover audience in art cinema and festival circles. [ABSTRACT FROM AUTHOR]

If Alexander Kluge's prose and films are populated with figures looking for escape, his programmatic statements on the media are no less concerned with how various narrative strategies provide more or less possibility for a way out from dominant discursive practices. This idea of Auswege-at the level of both the experience as well as the representation and the conceptualization of historical events-is at the core of Kluge's multi-media project and is the focus of this article. Auswege describe processes of representation/depiction that serve as the reader's point of departure to re-imagine the present, and potentially, offer a Rettung from the repetition of catastrophe. The article traces the evolution of this concept in examples of Kluge's work from the 1970s (Luftangriff auf Halberstadt and Verschrottung durch Arbeit) and in prose texts composed in the context of the end of the GDR and the unification of Germany in 1989/90 (Verfallserscheinungen der Macht). [ABSTRACT FROM AUTHOR]

The article discusses the production design and style of the film "A Single Man," directed by Tom Ford, and compares the film to the novella of the same name it is based on, written by Christopher Isherwood. The author addresses Isherwood's portrayal of American materialism in the novella and compares it to Ford's interpretation of the source material. The author observes that the film resembles a television commercial for perfume. How the characters in the book dress compared to how they do in the film are examined. The article also discusses the critical reception of the film.

The article discusses the film "Histoire de Marie et Julien," directed by Jacques Rivette. The author talks about the history of the film, which originally began filming in 1975 but was not released until 2003. The author addresses Rivette's approach to filmmaking as a process. The author also examines Rivette's use of "mise-en-scène," a French term for the design aspects of films, and its relationship to contingency. The production design of "Histoire de Marie et Julien" is detailed. The article also discusses Rivette's activities during the 1970s.

First of all, we are dealing with a cultural product, a feature-length film, an anthropological visual material performed within the style of direct cinema. The Curse of the Hedgehog is one of the first anthropological films made in Romania which plays an important role for the very recent history of Romanian anthropological cinema as well as for my own experience as a viewer. The director of the film, Dumitru Budralā, is a distinguished film director with an anthropological background. [ABSTRACT FROM AUTHOR]

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An interview with production designer Assheton Gorton is presented. When asked what his first job entailed, he states that he started out as a draughtsman and had to draw-up all of the stock at ABC television, stock windows, doors, fireplaces, and flats, while drawing also for other designers when he is not at ABC. He relates that he studied architecture at Cambridge in England and did 13 productions for the University theatre. He believes that the movie "The French Lieutenant's Woman" showcased its narrative through the set design.

In this new series of occasional features, we will look at some less known areas of the engineering profession. The paper focuses on the gadgetry-and-drama-ridden world of theatre engineers. [ABSTRACT FROM AUTHOR]

Security is a systematic issue which covers product design, implementation, logistic, manufacture and management. With the exponential growth of electronic business in recent years, the security of e-payment which is an important part of e-supply chain management (eSCM), becomes a critical issue. A large amount of payment in transactions is made via POS (point of sales) devices. The security of the POS system has its own specialties. However, few research papers focus on POS device security. This paper provides comprehensive investigation into security on POS devices. Firstly, it offers first-hand information on hardware and design of physical security. In particular, attacks, countermeasures and practical implementation are studied. Secondly, secure key management and security management in manufacture are investigated. Further research directions have been discussed according to the authors’ analysis. [ABSTRACT FROM AUTHOR]

The article discusses the contributions of Sergio Leone to the movie industry. Sergio Leone is an Italian movie director who is considered to be a postmodernist in the way he presents his films. He is famous for movies including "A Fistful of Dollars," "For a Few Dollars More," and "The Good, the Bad, and the Ugly." The director has made significant contributions to the dynamics of film making in so far as credit sequencing, juxtapositon of shots, and storytelling is concerned. The credit sequences in most of Sergio Leone's film suggest that the director is a prolific storyteller.

The article provides several interpretations of the Baltic shore as a cinematic motif used by several German directors in the Heimat genre. Directors had used the place as backdrop of a love story scene and a scene of self-realization. Meanwhile, the place offered directors with natural landscapes, free signs of civilization, anti-urban, and anti-social sentiments. In addition the timeless forces of nature offered by the Baltic sea serves as a corrective to their human plight.

Interviews Edward Carrick, a motion picture art director and production designer in Great Britain. Information on the people who influenced Carrick to be an art director and production designer; Discussion on the development of the career of Carrick in the motion pictures industry in Great Britain; Efforts of Carrick to raise the production designer's profile within the British film culture.

Discusses the role of the production designer in contemporary motion picture industry in Great Britain. Description of the nature of work of production designers; History of the invention of the term production designer and its relation with the director; Information on the production design process.

Interviews John Box, a motion picture art director and production designer in Great Britain. Information on the beginnings of Box in the film industry; Films that played a role in the development of the career of Box as a production designer; Information on films designed by Box.

Explores the role of art direction and production design in the visual impact of a motion picture in reference to the film "Knight Without Armour," directed by Jacques Feyder. Discussion on the significant impact of émigré technicians on British cinema; Factors that contribute to the high number of Russian-themed films produced in the 1930's; Definition of the elements of mise-en-scene.

Examines the work of the late visual artist Stan Brakhage on the camera-photographed films of the Vancouver Island Quartet in the 1990s. Views of critics on his film "A Child's Garden and the Serious Sea"; Information on the approach of Brakhage in moving the camera in the film; Kind of projection or transformation performed by Brakhage in the Film "The Mammals of Victoria."

Compares the form and subject matter of the films of visual artists Stan Brakhage and Andrei Tarkovsky. Difference of the films made by the artists; Connection between their surrealist sensibilities and interest in the unconscious; Information on the choreographed interiority approach used by the artists in interior spaces.

Features the visual art work of the late visual artist Stan Brakhage in the film "City Streaming." Tribute to the Brakhage; Description of visual arts in several films of Brakhage, including "Other"; Impact of light on the film.

The article describes the development of three-color processing of motion pictures implemented by Technicolor, focusing on the use of the process in the motion pictures "La Cucaracha," directed by Lloyd Corrigan, and "Becky Sharp." The technical aspects of three-color processing are described in detail. Broadway designer Robert Edmond Jones was hired as a color designer for "La Cucaracha," who argued for an integration of drama and narrative with color in motion picture production. "Becky Sharp" featured the color design talents of Rouben Mamoulian and Robert Edmond Jones.

The article identifies a cinematic tradition in which Modernist buildings become the malevolent protagonist. According to the author, architecture in film can undergo a transformation from static set to anthropomorphic participant in the lives of the characters. The author explores the transformation of modern architecture from mere film set to active enemy.

Interviews filmmakers Anne Severson and Yvonne Rainer. Confrontations on the sexist dimensions of the commercial cinema; Career background of Severson and Rainer; Ideas for films; Technicalities for the making of films.

Elaborates on the concept of `mythic space' as used in the motion picture `Stagecoat,' directed by John Ford. Use of contrasts, irony and imagery in the film; Meaning of the stagecoach's movement; Juxtaposition of enclosed space with open space; Second phase of the coach's journey; Juxtaposition of the interior of the coach with exterior space in the last phase of the film; Effect in cinematography.