Converging Traditions in the Digital Moving Image: Architectures of Illusion, Images of Truth

The world of media production is in a state of rapid transformation. In this age of the Internet, interactivity and digital broadcasting, do traditional standards of quality apply or must we identify and implement new criteria? This profile of the work of the Cambridge University Moving Image Studio (CUMIS), presents a strong argument that new developments in digital media are absolutely dependent on an understanding of traditional excellence. The book stands alone in placing equal emphasis on theoretical and practical aspects of its subject matter and avoids jargon so as to be easily understood by the general reader as well as the specialist. Chapters discuss: • animation • navigable architectural environments • moving image narrativity • questions of truth and representation • virtuality/reality • synthetic imaging • interactivity This broad analysis of current research, teaching and media production contains essential information for all those working or studying in the areas of multimedia, architecture, film and television. The book is designed as a core text for the Cambridge University 1 year MPhil Degree in Architecture and the Moving Image. Contents......Page 4 Historical Note......Page 6 Introduction......Page 8 1. The Escape from Termite Terrace......Page 12 2. A Lexicon of Babel: the Multiple Languages of Animation......Page 18 3. The Genie in the Lamp: Realism and Fantasy in the Animated Film......Page 33 4. Animation and Documentary......Page 49 5. Motion Painting......Page 55 1. Console Games and Storytelling......Page 62 2. Tradition and Innovation – Drama, Narrative and Narration on the Film, TV and Interactive Screen......Page 79 3. Big Screen/Small Screen – – Cross-Fertilization between Film & Interactive Games......Page 100 4. Narrative, Narration and Engagement in Adventure-Game Stories......Page 111 5. Storyscapes, Storyseekers and Storymakers – Dramatic Narrative in Navigable, Expressive Space......Page 123 1. Background......Page 146 2. Architects’ Perspectives on Film......Page 156 3. Film-makers’ Perspectives on Architecture......Page 161 4. Location Shooting in City Films......Page 164 5. Toward the Digital Representation of Architecture and the City......Page 169 1. Theory and Practice......Page 176 2. High and Low Control......Page 181 3. The Motivation Behind The Camera......Page 189 4. Ethnographic Movies – the ‘Avant-Garde’ of Documentary?......Page 192 5. The Interactive Documentary......Page 198 Screenography......Page 206 Bibliography......Page 214 Index......Page 219 Contents 4 Historical Note 6 Introduction 8 Animation, Art and Digitality 12 1. The Escape from Termite Terrace 12 2. A Lexicon of Babel: the Multiple Languages of Animation 18 3. The Genie in the Lamp: Realism and Fantasy in the Animated Film 33 4. Animation and Documentary 49 5. Motion Painting 55 Beyond Digitality: Cinema, Console Games and Screen Language 62 1. Console Games and Storytelling 62 2. Tradition and Innovation – Drama, Narrative and Narration on the Film, TV and Interactive Screen 79 3. Big Screen/Small Screen – – Cross-Fertilization between Film & Interactive Games 100 4. Narrative, Narration and Engagement in Adventure-Game Stories 111 5. Storyscapes, Storyseekers and Storymakers – Dramatic Narrative in Navigable, Expressive Space 123 Architecture and the Screen from Photography to Synthetic Imaging 146 1. Background 146 2. Architects’ Perspectives on Film 156 3. Film-makers’ Perspectives on Architecture 161 4. Location Shooting in City Films 164 5. Toward the Digital Representation of Architecture and the City 169 The Creative Treatment of Actuality 176 1. Theory and Practice 176 2. High and Low Control 181 3. The Motivation Behind The Camera 189 4. Ethnographic Movies – the ‘Avant-Garde’ of Documentary? 192 5. The Interactive Documentary 198 Screenography 206 Bibliography 214 Index 219 In this age of the Internet, interactivity and digital broadcasting, do traditional standards of quality apply or must we identify and implement new criteria? This book argues that developments in digital media are absolutely dependent on an understanding of traditional excellence. From being something of a commercial and artistic ghetto, and virtually synonymous (at least in the public mind) with children's cartoons, animation has become, in the 21st century, an essential production tool in the broadcasting, cinema, games and Internet industries.