Norman McLaren

Norman McLaren

Norman McLaren is a Scottish animator and a film director, who was born in Scotland in 1914. His filmmaking started early in his life after he came known with works by great Russian filmmakers and German animators. While a student at the Glasgow school of fine arts his fascination with dance led him to make much artificial documentaries. McLaren immigrated to the United where he made an amount of abstract films and then he joined the general post office film unit, where he worked in London using the method of filmstrip In the same year. McLaren used to see abstractions in his mind as he listened to music. With film, he realized he could make these abstractions visible. His mind was made up and he joined a newly formed filmmaking club at the art school. He became the mainspring of this club, and he displayed an original and indefatigably energetic talent. His student films were mainly live-action; he was fascinated by the movie camera and sought to exploit it to its maximum.

One of his work called spook sport 1940 a technique of film animation is a method where footage he produced consisting of drawing on film to create a sketch effect, on a blank film it enables him to pain, draw or tape objects. I admire his work in terms of the way the displays with a creative effect as well as it is abstract art that animation moves in time to the music.

Norman McLaren, available at:http://www.youtube.com/watch?v=6wXTx9BKENs&feature=related

Norman McLaren, available at http://www3.nfb.ca/animation/objanim/en/filmmakers/Norman-McLaren/biography.php

Norman McLaren, available at http://www.mellart.com/2008/03/spook-sport-1940.html

(accessed on 24^th April)

Kyle Cooper

Kyle Cooper

Kyle Cooper born in 1962 is a modern designer of motion picture title sequences. Cooper studied graphic design under Paul Rand at yale university. Early in his trained career he worked as a creative director at R/GA and advertising agency with offices in New York and Los Angeles, during this era he created the title sequence for the 1995 American crime film se73n. According to Cooper, at the time he made the title sequences for seven, main title sequences we behind of what was happening in print, music videos and commercials. He wanted to create main titles that were raising the bar creatively. Kyle Cooper has directed over 150 film title sequences, and has been credited with almost single handedly revitalizing the main-title sequence as an art form. His types of title sequences lies in the form of 2-dimensional animation, table top live action photography and digital aided emulation of pre-existing techniques

In terms of his work I chose his title sequence he did for Spiderman three, the title sequence consists of the film of the representative scenes. I admire his work because to me as looking at title sequences they go in the zone of it being visual as well as creative with text and imagery I also like the way of the shapes within the footage relating it to the content of the film.

Kyle Cooper, available at: http://www.youtube.com/watch?v=GQyl0R-H1uY

Kyle Cooper, available at: http://www.imdb.com/name/nm0178204/bio

Kyle Cooper, available at: http://www.watchthetitles.com/articles/00170-     Kyle_Cooper_interview_pt_1_2

Kyle Cooper, available at: http://abduzeedo.com/motion-graphics-inspiration-kyle-cooper

(accessed on 22^nd April)

Postmodernism

Post modernism


Post modernism is a long extending term which is applied to literature, art, philosophy, architecture, fiction, and cultural and literary criticism. Postmodernism is a response to the acknowledged certainty of scientific, or objective, efforts to explain reality. In principle, it stems from being familiar that realism is not simply mirrored in human understanding of it, but rather, is built as the mind tries to understand its own exact reality. For this reason, postmodernism is highly doubting of details which claim to be valid for all groups, cultures, traditions, or races, and instead focuses on the relative truths of each person. In the postmodern understanding, interpretation is everything, reality only comes into being through our interpretations of what the world means to us individually. Postmodernism depends on real experience over abstract values, knowing always that the outcome of one's own experience will necessarily be making an error and relative, rather than certain and universal.

Postmodernism dues to be the successor to the seventeenth century. For over four centuries, postmodern philosophers have endorsed and protected a New Age way of theorizing and human life and progress. Since the end of the 1970s the majority os Post-modernbism artists and architects have taken a diverse tradition). Postmodernists are naturally atheistic or the view of the truth, while some choose to follow eastern religion thoughts and practices. Many are naturalist including humanitarians and philosophers.

Postmodernism image, available at: http://www.google.co.uk/imgres?um=1&hl=en&biw=1366&bih=667&tbm=isch&tbnid=in_QKw46uJ_t8M:&imgrefurl=http://www.jacketflap.com/megablog/index.asp%3Ftagid%3D5726%26tag%3Dmodern&docid=BWeSYcEZiaDevM&imgurl=http://grainedit.com/wp-content/uploads/2010/02/paul-rudolph-rendering-4.jpg&w=470&h=330&ei=f5GYT6P3MNSU8gO9o9j9BQ&zoom=1&iact=hc&vpx=342&vpy=153&dur=3534&hovh=188&hovw=268&tx=166&ty=58&sig=110899913075993879480&page=1&tbnh=126&tbnw=180&start=0&ndsp=18&ved=1t:429,r:1,s:0,i:67

(accessed on 20^th April 2012)

Identity

Identity

The subject identity is defined as the typical character, belonging to any given individual. The idea of identity covers some notion of human agency, an idea that we can have some control in making our own identities. There are constraints which may lie in the external world, where material and social factors may limit the degree of agency which beings may have. Lack of material resources decreases the opportunities we have as in the case of poverty and economic constraints. It is unbearable to have an identity as a successful career if one is without a job and if there are no employment opportunities. Other borders to our independence may reside within us. Identity is different from personality in important respects. We may share personality characters with other people, but sharing an identity suggests some active commitment on our part.

We choose to identify with a particular identity or group. Sometimes we have more choice than others. (Sociology seems to have a lot to say about identity. At the moment gender and ethnic identity seem to be at the forefront of the discipline concerns). Although as individuals we take up identities actively, those identities are essentially the product of the society in which we live and our relationship with others. Identity delivers a link among individuals and the world in which they live. Identity combines how people see themselves and how others see them. Identity involves the internal and the subjective, and the external. (Braib, 1998, pg 1)

Identity image, available at: http://www.google.co.uk/imgres?um=1&hl=en&biw=1366&bih=624&tbm=isch&tbnid=guasYZ7eYT7QZM:&imgrefurl=http://lanrefajumo.blogspot.com/2010/04/identity.html&docid=0orJYiSvBBM6VM&imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA-dUpQn5ntwSZYsINMwkiVSmlE0Wkeo53zWf7O4UeHY39RU2wqogiZb8Vm4OgT_CtPt6oQL-sLOtzZl3EzFMMwmxeRcc3wnHQXmV7MgvDeQMm5FS3HZsyr7ziDUDbVPbj_yRVHkrFrQ8/s1600/identity%252Bpic.gif&w=318&h=369&ei=M36YT-PHJY-UOvK3-dQG&zoom=1&iact=hc&vpx=197&vpy=156&dur=50&hovh=242&hovw=208&tx=122&ty=99&sig=110899913075993879480&page=1&tbnh=123&tbnw=106&start=0&ndsp=22&ved=1t:429,r:1,s:0,i:146

(accessed on 18^th April 2012)

Semiotics

Semiotics

Semiotics is defined as the theory of icons, signs and symbols, these can be found in the spoken or written words, in the art of cinematography, inside the shapes and curves of sculpture of dance or more particularly in the case and structure of a picture, whether as a painting or a photograph and how it is read. The Understanding of the image is the method of finding the significances inside the frame that occurs when the observer counters to the signs and symbols which constitute the picture. The process that occurs consists of some understanding of what the picture signifies. In this way audiences with diverse social experiences or different cultures may discovery different meanings in the same image. (Signs are always produced and consumed in the context of a specific society). This is not essentially a clue of the success or failure of the picture in question. It's only the change between translation and interpretation.

A vital thought in semiotics, is that signs and importance are limitless, which is called unlimited semiosis. This standard makes it clear that one sign or set of signs can take the place of some other sign or set of signs talking about a situation or a concept in an infinite method. (Laurence King, 2007, pg 5 & 6)

Semiotics image, available at: http://www.google.co.uk/imgres?q=semiotics+structure&um=1&hl=en&sa=N&biw=1366&bih=667&tbm=isch&tbnid=u6lCoB6iQNmmcM:&imgrefurl=http://csmt.uchicago.edu/glossary2004/semiotics.htm&docid=-vQwpk6XGcKcBM&imgurl=http://csmt.uchicago.edu/glossary2004/semiotics/semiotic_triad.jpg&w=299&h=260&ei=G1aLT-nlGtDZ8QOR4ejZCQ&zoom=1&iact=rc&dur=608&sig=107553865346168159859&page=1&tbnh=144&tbnw=166&start=0&ndsp=21&ved=1t:429,r:12,s:0,i:92&tx=61&ty=65

(accessed on 16^th April 2012)