Quarterly Review of Film and Video最新文献_第8页

Symbolic Image of Colors in the Animation Film, Loving Vincent 动画电影《爱文森特》中色彩的象征意象

Quarterly Review of Film and Video Pub Date : 2023-08-02 DOI: 10.1080/10509208.2023.2235991

Eunha Son

{"title":"Symbolic Image of Colors in the Animation Film, <i>Loving Vincent</i>","authors":"Eunha Son","doi":"10.1080/10509208.2023.2235991","DOIUrl":"https://doi.org/10.1080/10509208.2023.2235991","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgementsThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628)Disclosure StatementThe author declares no conflict of interest.Notes1 “I’ve been trying all winter to get my hands on the elements that make up this painting and to find a clear pattern. (omitted) I believe that it’s better to expose their clunkiness than to put on a stereotyped packaging in the end.” An excerpt from van Gogh’s The Potato Eaters.2 The Japanese film Rashomon was the world’s first oil painting animation film.3 For example, Inside Out and Mune: The Guardian of the Moon.4 The Natural Color System (NCS) is a proprietary perceptual color model based on the color opponency hypothesis of color vision, first proposed by German physiologist Ewald Hering.5 Examples of such works include Paul Gauguin’s Paintings of Tahiti, Van Gogh’s Café Terrace at Night, and Gustav Klimt’s The Dancer and The Virgin.6 Ukiyo-e is a genre of Japanese woodblock prints and paintings established during the Edo Period (1615-1868) depicting the daily lives and customs of the time.7 To produce this animation, artists were selected by auditioning, and 107 artists drew 65,000 painting by themselves. Since the picture was reproduced in the same standard, imagination was added when it was larger than the original in Living Vincent.Additional informationFundingThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628).Notes on contributorsEunha SonI am currently working as a research professor at the Korean Studies Institute at Pusan National University. I focus on interdisciplinary studies in the humanities and imaging science.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135016566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

New-Age Media and the Genesis of Hindutva 新时代媒体与印度教的起源

Quarterly Review of Film and Video Pub Date : 2023-08-01 DOI: 10.1080/10509208.2022.2043097

Sunil Barthwal, Vipul Sharma

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引用次数: 2

Queer Desire and Surveillance Optics: Exploring Foucault’s Panoptic Regime in the Indian Biographical Film Aligarh 酷儿欲望与监视光学:探索印度传记片《阿利格尔》中福柯的全视体制

Quarterly Review of Film and Video Pub Date : 2023-08-01 DOI: 10.1080/10509208.2023.2242069

K. Raveendran, Dhishna Pannikot

引用次数: 1

Deconstructing Pocong, the Indonesian Sacred Ghost: A Diachronic Analysis of Mumun (2022), Indonesian Contemporary Horror Film 《解构印尼神鬼波聪：穆蒙的永恒分析》（2022），印尼当代恐怖电影

Quarterly Review of Film and Video Pub Date : 2023-08-01 DOI: 10.1080/10509208.2023.2230116

Justito Adiprasetio, Annissa Winda Larasati

引用次数: 1

Khaki on Screen: Understanding the Representation of Cops in Malayalam Cinema 银幕上的卡其布:了解警察在马来亚拉姆电影中的表现

Quarterly Review of Film and Video Pub Date : 2023-08-01 DOI: 10.1080/10509208.2023.2242065

Mitul Joseph Koickakudy

引用次数: 0

The Stereotype of Nigerian Singles in Selected Nollywood Series 诺莱坞精选系列中尼日利亚单曲的刻板印象

Quarterly Review of Film and Video Pub Date : 2023-07-30 DOI: 10.1080/10509208.2023.2239124

Tolulope Kayode-Adedeji, Ayomide Orisabiyi, Fola Bamigbolayin-Afolabi

引用次数: 0

V. Devadatta’s Psycho (2008): Confluence of Psychopathy, Empathy, and Moral Responsibility V.Devadatta的《精神病》（2008）：精神病、移情和道德责任的融合

Quarterly Review of Film and Video Pub Date : 2023-07-30 DOI: 10.1080/10509208.2023.2238854

Priyankha Rajagopal, Manali Karmakar

引用次数: 0

Changing Stories, Changing Lives: Reconfiguration of Mothering Practices in Contemporary Bollywood 改变故事，改变生活：当代宝莱坞母性实践的重构

Quarterly Review of Film and Video Pub Date : 2023-07-25 DOI: 10.1080/10509208.2023.2235990

Pratyusha Pramanik, Ajit K. Mishra

引用次数: 0

25 Years of Online Video Streaming Research: A Bibliometric Analysis 网络视频流研究25年：文献计量分析

Quarterly Review of Film and Video Pub Date : 2023-07-24 DOI: 10.1080/10509208.2023.2234849

S. K. Jena, S. Mohanty, Manish Kumar

引用次数: 0

Longer Than the Road That Stretches Out Ahead: Historiography and Documentary Techniques in Let It Be (1970) and The Beatles: Get Back (2021) 《比前方延伸的路更漫长:随它去吧》(1970)和《披头士:回归》(2021)中的史学和纪录片技术

Quarterly Review of Film and Video Pub Date : 2023-07-24 DOI: 10.1080/10509208.2023.2236509

William Kummer

引用次数: 0