Man with the movie camera and Kinoks by Vertov: Vertov takes the Kino-eye as perfect and superior to that of the human eye. The scene where the woman washes her face while here eyes were opening and closing then the camera lens opens and closes‚ it emphasizes that the camera lens is like the human eye but the better version of human sight. What makes it different from the human eye according to Vertov is that it records and transcends time and space. He believed in the concept of filming factual
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and create a mixture of emotions. These can be seen in a variety of ways; “Gallipoli’ used a range of techniques in such a way that it created an amazing atmosphere by involving the audience emotionally and portraying a story. Peter Weir utilised camera techniques to illustrate the emotions of the characters as well as to build suspense into the plot. The use of silence allowed the viewers to read the tension between the characters and impact the audience emotionally. Weir allowed music to carry
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Man with a Movie Camera FA / FILM 1900 Anatomy of Feature Film Course Instructor: Firoza Elavia‚ Ph.D. Paola Jesamine Cortez Student no: 213159934 Tutorial 4 October 22 2013 Andre Bazin‚ a film critic‚ once said‚ “Photography does not create eternity‚ as art does; it embalms time‚ rescuing it simply from its proper corruption.”1 Like photography‚ film captures different moments in time and in many cases‚ it captures‚ or attempts to capture‚ real life. Vertov’s film‚ Man with a
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There is a convention in the video‚ film and television industries which assigns names and guidelines to common types of shots‚ framing and picture composition. The list below briefly describes the most common shot types (click the images for more details). Notes: The exact terminology varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular subject EWS (Extreme Wide Shot) The view is so far from the subject that
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Kacy Pember Professor Kennedy 21 Feb 2013 ENC 1102 In the story of “Why I Live at the P.O.‚” Sister is consistently picked on by everyone in her family‚ forcing her to isolate herself and move out. But is she really happy with the decision she made? On the Fourth of July‚ Sister’s life in China Grove is interrupted by the arrival of her sister‚ Stella-Rondo‚ who just left her husband‚ Mr. Whitaker‚ and returned to the family home in Mississippi. Sister had briefly dated Mr. Whitaker before
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Michael Porter’s “Five Forces” Model Summary and interpretation by Prof. Tony Lima February 25‚ 2006 Figure 1: Porter’s Five Forces From Michael Porter‚ Competitive Advantage‚ Simon & Schuster‚ New York‚ 1985‚ p. 5 Prof. Michael Porter teaches at the Harvard Business School. He has identified five forces that determine the state of competitiveness in a market. The forces also influence the profitability of firms already in the industry. These five forces are summarized in the above diagram
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to a high density medium the angle of refraction decreases. With all the test done the angles of incident and reflection stayed the same. This is because with light what angle it approaches at is the angle the light will reflect back at. Also the angle of refraction depended on what the angle of incident and refraction were‚refraction is a dependent variable being the reason why the other angles matter. The first test was how light moves through air to water. The angle of incident was always 30 to
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this experiment is to determine if the angle of impact affects the diameter and depth of a crater. The hypothesis was correct‚ stating that if the angle of impact changes than the depth and diameter will change due to the amount of speed and force is being put in the marble (meteor)‚ and the most effective angle for the diameter is at a 20 degree angle‚ and for depth is at a 90 degree angle. The hypothesis turned out to be true because it all depends to the angle the meteor or in this case the marble
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Cameras in video games: comparing play in CounterStrike and the Doctor Who Adventures. Eric Laurier (Edinburgh University) & Stuart Reeves (University of Nottingham) Abstract Players of both first- and third- person perspective video games deploy a repertoire of analyses of the courses of actions of others with and through the game’s optics (be they other players or computer-generated actors). Visual activities of ‘looking around’‚ ‘scrutinising’ and ‘inspecting’ and so on‚ are achieved via
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Unit of Measurement I. Convert each angle to a decimal in degrees. 1. 40° 30’ 2. 60° 60’ 60" II. Convert each angle to D° M’ S" form. 1. 40.3° 2. 118.255° III. Evaluate the following. 1. Complement of 74° 31’ 43" 2. Supplement of 105° 24’ 56" Activity No. 1.2 Unit of Measurement I. Convert each angle in degrees to radians. 1. 67.5°
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