搜索结果: 1-15 共查到“知识库 电影艺术”相关记录156条 . 查询时间(2.626 秒)
技术为电影艺术拓展新空间
电影艺术 科技创新 科技赋能 中国文化符号
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2022/6/29
技术为电影艺术拓展新空间，为观众带来新的视觉体验。电影技术的运用，逐渐由“炫目”向为角色叙事和视听表现服务转变。
都市电影的城市美学转向
都市电影 城市性格 都市神话 城市情感
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2022/3/8
都市电影以城市为背景，既是城市符码的一种表征，同时也重新形塑了城市空间。作为一种艺术形式、文化产业和媒介，都市电影是城市美学的理想表达类型，也是观众重新认识城市的最好文本。然而，近年来都市电影却陷入既不叫好又不叫座的困境。与此同时，城市美学也经历了从关注城市规划的理性技术美学到关注城市中主体精神存在的城市文化美学的转变。城市美的实现既是美学理想，也是城市向更高层次生长发展的需求，且城市美学的生命力...
Fractal curves and complexity
Fractal curves complexity
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2015/8/13
Fractal curves were generated on square initiators and rated in terms of complexity by eight viewers. The stimuli differed in fractional dimension, recursion, and number of segments in their generator...
Affine Distortions of Pictorial Space:Some Predictions for Goldstein (1987) That La Gournerie (1859) Might Have Made
Affine Distortions Pictorial Space Some Predictions Goldstei La Gournerie Might Have Made
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2015/8/13
Goldstein (1987) studied the perception of pictures seen from the front and the side. Several distinctions arose from his results and analysis, but only one is central to the reanalysis presented here...
How the eye measures reality and virtual reality
eye measures reality virtual reality
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2015/8/13
If virtual reality systems are to make good on their name, designers must know how people perceive space in natural environments, in photographs, and in cinema. Perceivers understand the layout of a c...
Images,imagination,and movement: Pictorial representations and their development in the work of James Gibson
Images,imagination movement Pictorial representations development work James Gibson
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2015/8/13
For more than 30 years James Gibson studied pictures and he studied motion, partic-ularly the relationship between movement through an environment and its visual consequences.For the latter, he also s...
Reconceiving perceptual space. H. Hecht
Reconceiving perceptual space. H. Hecht
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2015/8/13
Reconceiving perceptual space. H. Hecht.
Gustave Caillebotte,French Impressionism,and mere exposure
Gustave Caillebotte French Impressionism mere exposure
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2015/8/13
Gustave Caillebotte was a painter, a collector of some of his colleagues’ most renowned works, and a major force in the creation of the late 19th century French Impressionist canon. Six studies are pr...
The mere exposure effect and aesthetic preference. In P. Locher
mere exposure effect aesthetic preference Locher
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2015/8/13
The mere exposure effect and aesthetic preference. In P. Locher.
The end of art?
end art
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2015/8/13
Martindale (2009) suggests that all of art is coming, or has already come, to an end. Following Hegel’s lead, he suggests that all new art must communicate whilebeingrecognizablynew.Thesetwocriteria—c...
The shape and psychophysics of cinematic space
shape psychophysics cinematic space
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2015/8/13
For the film goer who sits to the front and side of a movie theater, the virtual space "behind"the screen undergoes affine and perspective transformations. These transformations should, one would thin...
Visual Activity in Hollywood Film: 1935 to 2005 and Beyond
film motion movement frames shots
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2015/8/13
The structure of Hollywood film has changed in many ways over the last 75 years, and much of that change has served to increase the engagement of viewers’ perceptual and cognitive processes. We report...
The changing poetics of the dissolve in Hollywood film
changing poetics dissolve Hollywood film
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2015/8/13
Most films contain many shots knit together by several types of transitions,andbyfarthemostprevalentisthecut.Overthelast70years, fadesandwipes have become increasingly rare. Dissolves have also dimini...
On Shot Lengths and Film Acts:A Revised View
Shot Lengths Film Acts Revised View
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2015/8/13
In a recent issue of Projections, Cutting, Brunick, and DeLong (2011b) reported that the structure of film acts—the four relatively equal-length stretches of film determined by the progression of the ...
Coloring the Animated World:Exploring Human Color Perception and Preference through the Animated Film
Animated World Exploring Human Color Perception Preference through Animated Film
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2015/8/13
Animated films present a unique set of challenges and questions to scholars examining films from a cognitive perspective. When the confines of the real world don’t exist as they do in live action film...