case study 2 2 film prioritization

MGMT2012 - Case Study 2 - Film Prioritization

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Chapter 2 Case Film Prioritization

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Aspera Annual Conference, Bond University, 21-23 June, 2017.

ABSTRACT Using smartphones to create photographs and video content has become a routine practice as people go about the process of making and sharing the digital representations of the world around them. Unlike traditional film and photographic cameras, the smartphone requires no specialized skill and provides users with a simple means of creating high-resolution digital media content. But smartphone technology is arguably doing much more than simplifying image-making processes, smartphones are changing our understanding of the ways that visual media can be used to construct, share and screen a wide range of personal narratives. As we use smartphones to collect traces of the everyday, we are also engaging in memory making and storytelling practices. The photographs and videos that we take using smartphones arguably play an important role in understanding our place in the world, both at the moment of capture, and in the future revisiting of these mediated memories. Van Dijck observes that: Media technologies are not just a method of building up a stockpile of personal memories, but their function is concurrently formative, directive and communicative. They enable the self to grow and mature, to give meaning and direction to one’s past and present. (2007, p. 171, Van Dijck, J. Mediated Memories in the Digital Age. California: Stanford University Press.). In this paper, I suggest that the digital media we collect on our smartphones may unlock a remembrance of the people, places and events that occupy the past? I propose that the personal photographs and videos we capture on smartphones provide artists and filmmakers with an opportunity to create innovative modes of visual storytelling that highlight the tensions that exist between the past and present, history and memory

ASPERA Conference 2017, What Excites You?

Leila Honari , Andi Spark

Research methodologies for visual artists are somewhat limited to a combination of practice-based or practice-led research, action research, case studies, comparative or critical analyses and auto-ethnographic activities. The relationship of these methodologies to contemporary, innovative screen media based research projects are poorly articulated, particularly for enquiries that traverse and integrate multiple forms. This paper proposes a novel research model for artists; The ‘Rubik’s Cube’ structure, which has developed from Joy Paul Guildford’s theory that the ‘structure of the intellect’ is a cubic matrix comprised of Contents, Products and Operations (methods of processing information, fundamentals of classification, and general intellectual processes). Drawing on psychology research into the ways artists think and the creative process which links a ‘preference for intuitive operation (finding meanings and hidden patterns) rather than sensation orientation (facts over ideas)’, the proposal focuses on how to draw correlations and synthesize seemingly disparate facets of a creative arts practice-based research enquiry. Incorporating a relationship to Edward de Bono’s ‘Six Hats’ thinking systems which considers approaching a question from various viewpoints, and the concept of a ‘spirograph’, which creates a pattern by connecting up various points within a contained system, the ‘Cube’ system also works within a contained mathematical form with every shift operating around a central core. Symbolically, the Rubik’s cube is an allegory for this kind of thinking system with each twist or shift in the face creating new combinations, with the opportunity for both answering and proposing new questions. The analogy continues, in the way creative research puzzles are often not ‘solved’ until the final twist.

Kimberly Owczarski

Hafiz A Ahmad

The globalization era creates almost universal world with influences from many culture. Therefore, being global with our identity as a nation still intact is also important. Indonesia nowadays is heavily influenced by various cultures and that leads to a never-ending debate that Indonesian animations are lacked of Indonesia culture, thus failed to carry the Indonesian identity. In contrast, animation works with traditional background are easily being accepted to carry Indonesian identity. It is true that cultural representation is easily achieved by using traditional stories with traditional visuals and ornaments and several attempts to recreate various themes with adapting traditional visuals and ornaments into modern looks (retrospective style) have been done with various results. But does every work in comic and animation have to deal with traditional elements to be categorized as having Indonesian identity? What about the themes with contemporary settings, fantasy settings or futuristic settings? The good examples about the seamless integration of culture within comics and animation are found in the works from Japan and Korea. Although dealing with broad and various themes ranging from traditional to futuristic, they still appear with strong identity. One of the hypothesis of this phenomenon is the cultural representation that is integrated in the works itself, using various ‘daily life’ (things that we always encounter on a daily basis) routine as the story goes. Since what appears on screen or pages are things that the Japanese or Koreans do every day, it automatically represent the nature of their respective culture, thus creating their strong identity. The objective of the research is to find the possibilities of creating animation with contemporary settings that still represents the identity of the country of origin -especially in Indonesia- based on the cultural representation within the animation itself. If cultural representations could be found in animations from Japan and Korea, then it could be implied in animation work with Indonesian setting, to create an animation that represent Indonesia culture and identity, using events that are commonly found in Indonesia.

Proceedings 2 nd International Conference on Visual Culture and Urban Life

Madia Patra Ismar

Abstract This paper discusses Silat Minangkabau from the West Sumatran Oral Traditions self defence known as Silek, using movement analysis. This focus is to understand the characteristics of movement unique to traditional styles in the streams of silat schools called sasaran in the Minangkabau language. Applying movement analysis has an important role in understanding how the silat body moves in time and space. These researchers argue that using this approach will strengthen and hone the artistic skills and perspective of an animator interested in understanding the movements when creating visuals based on martial arts. Further focus in this paper is to scrutinise the traditional Minangkabau self defence style known as the silek harimau. Although there are already creative works of animators on silat, movement analysis hones the precision of gazing upon the visual aspect of bodily movement in the context of emic views. Keywords: silek, oral traditions, Minangkabau, animators, movement analysis

mamama mamamama

Journal of the International Academy of Case Studies

TODD A FINKLE

This case takes place in late 2012 and examines Andrew Mason, the co-founder of Groupon, Inc. and his journey to build his company. Mason was just reelected by the Board of Directors to remain as CEO of the company despite the stock price being down approximately 80% from its IPO in 2011. Groupon was once the fastest growing company ever. Now, Mason he had to figure out how to turn the company around.

"This thesis is the first in-depth, historical study of Hollywood’s relationship with the ‘family audience’ and ‘family film’. Since the 1970s, Hollywood family films have been the most lucrative screen entertainments in the world, and despite their relativelyunexplored status in academic film criticism and history, I will argue that the format is centrally important in understanding mainstream Hollywood cinema. How have ‘family films’ become so globally dominant? One answer is that Hollywood’s international power facilitates the global proliferation of its products, but this explanation, in isolation, is insufficient. I will argue that Hollywood family films are designed to transcend normative barriers of age, gender, race, culture and even taste; they target the widest possible audiences to maximise commercial returns, trying to please as many people, and offend as few, as possible. This they achieve through a combination of ideological populism, emotional stimulation, impressive spectacle, and the calculated minimisation of potentially objectionable elements, such as sex, violence, and excessive socio-cultural specificity. Initially, the audience for family films was predominantly domestic, but with the increasing spending power of international audiences, family films are now formulated on the belief that no market is inaccessible. For this reason, they are inextricably linked with Hollywood – the only film industry in the world with the resources and distribution capacity to address a truly global mass audience. The ‘family film’ originated in early-1930s Hollywood as a mixture of propaganda and commercial idealism. Hollywood cinema was already an international cultural phenomenon, but was founded upon a claim to universality that was undermined by the predominance of adult-orientated films. The family film was the result both of external pressures to make films more morally-suitable for children, and the desire to engage a more middle-class mass audience. Films targeting the so-called ‘family audience’ were excellent propaganda for Hollywood, suggesting superior production, inoffensiveness and broad appeal. Although such movies have not always commanded the mass (‘family’) audiences for which they are intended, they have flourished in the domestic and international media marketplace since the 1970s, and their commercial and cultural dominance appears likely to extend further in the years to come. Whilst the idea of a universally-appealing film remains an impossible dream, mainstream Hollywood has pursued it relentlessly. It is the Holy Grail for mainstream producers, and has attained considerable importance in U.S. – and increasingly international – culture, as audiences flock to see films which appear to transcend run-of-the-mill screen entertainment by providing universally-intelligible aesthetic and/or emotional satisfaction. This thesis maps the history of the Hollywood family film, documenting the motivations and strategies involved in its emergence and development, analysing the form creatively and ideologically, evaluating its place within global mass entertainment, and underlining its considerable importance."

Larissa Scantamburlo

ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising,

Contemporary Hollywood Stardom

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