The Empire of Effects: Industrial Light and Magic and the Rendering of Realism
Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It i...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Austin
University of Texas Press
[2022]
|
| Schlagworte: | |
| Online-Zugang: | FHA01 Volltext |
| Zusammenfassung: | Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood—by one company specifically: Industrial Light & Magic. The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from the New Hollywood of the 1970s, incorporating lens flares, wobbly camerawork, haphazard framing, and other cinematography that called attention to the person behind the camera. In the context of digital imagery, however, these aesthetic strategies had the opposite effect, heightening the sense of realism by calling on tropes suggesting the authenticity to which viewers were accustomed. ILM’s style, on display in the most successful films of the 1980s and beyond, was so convincing that other studios were forced to follow suit, and today, ILM is a victim of its own success, having fostered a cinematic monoculture in which it is but one player among many |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022) |
| Beschreibung: | 1 online resource (368 pages) 50 b&w photos |
| ISBN: | 9781477325315 |
| DOI: | 10.7560/325308 |
Internformat
MARC
| LEADER | 00000nmm a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV048391957 | ||
| 003 | DE-604 | ||
| 005 | 00000000000000.0 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 220804s2022 |||| o||u| ||||||eng d | ||
| 020 | |a 9781477325315 |9 978-1-4773-2531-5 | ||
| 024 | 7 | |a 10.7560/325308 |2 doi | |
| 035 | |a (ZDB-23-DGG)9781477325315 | ||
| 035 | |a (OCoLC)1339078104 | ||
| 035 | |a (DE-599)BVBBV048391957 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-Aug4 | ||
| 082 | 0 | |a 777 |2 23 | |
| 100 | 1 | |a Turnock, Julie A. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a The Empire of Effects |b Industrial Light and Magic and the Rendering of Realism |c Julie A. Turnock |
| 264 | 1 | |a Austin |b University of Texas Press |c [2022] | |
| 264 | 4 | |c © 2022 | |
| 300 | |a 1 online resource (368 pages) |b 50 b&w photos | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 500 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022) | ||
| 520 | |a Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood—by one company specifically: Industrial Light & Magic. The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from the New Hollywood of the 1970s, incorporating lens flares, wobbly camerawork, haphazard framing, and other cinematography that called attention to the person behind the camera. In the context of digital imagery, however, these aesthetic strategies had the opposite effect, heightening the sense of realism by calling on tropes suggesting the authenticity to which viewers were accustomed. ILM’s style, on display in the most successful films of the 1980s and beyond, was so convincing that other studios were forced to follow suit, and today, ILM is a victim of its own success, having fostered a cinematic monoculture in which it is but one player among many | ||
| 546 | |a In English | ||
| 650 | 7 | |a PERFORMING ARTS / General |2 bisacsh | |
| 650 | 4 | |a Cinematography |x Special effects |x History | |
| 650 | 4 | |a Computer animation |x History | |
| 650 | 4 | |a Digital cinematography |x History | |
| 650 | 4 | |a Motion picture industry |x History | |
| 650 | 4 | |a Motion pictures |x Aesthetics |x History | |
| 650 | 4 | |a Realism in motion pictures |x History | |
| 856 | 4 | 0 | |u https://doi.org/10.7560/325308 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-23-DGG | ||
| 999 | |a oai:aleph.bib-bvb.de:BVB01-033770659 | ||
| 966 | e | |u https://doi.org/10.7560/325308 |l FHA01 |p ZDB-23-DGG |q FHA_PDA_DGG |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1804184280468815872 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Turnock, Julie A. |
| author_facet | Turnock, Julie A. |
| author_role | aut |
| author_sort | Turnock, Julie A. |
| author_variant | j a t ja jat |
| building | Verbundindex |
| bvnumber | BV048391957 |
| collection | ZDB-23-DGG |
| ctrlnum | (ZDB-23-DGG)9781477325315 (OCoLC)1339078104 (DE-599)BVBBV048391957 |
| dewey-full | 777 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 777 - Cinematography and videography |
| dewey-raw | 777 |
| dewey-search | 777 |
| dewey-sort | 3777 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte |
| discipline_str_mv | Kunstgeschichte |
| doi_str_mv | 10.7560/325308 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02967nmm a2200457zc 4500</leader><controlfield tag="001">BV048391957</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">00000000000000.0</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">220804s2022 |||| o||u| ||||||eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781477325315</subfield><subfield code="9">978-1-4773-2531-5</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.7560/325308</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9781477325315</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1339078104</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV048391957</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-Aug4</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">777</subfield><subfield code="2">23</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Turnock, Julie A.</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">The Empire of Effects</subfield><subfield code="b">Industrial Light and Magic and the Rendering of Realism</subfield><subfield code="c">Julie A. Turnock</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Austin</subfield><subfield code="b">University of Texas Press</subfield><subfield code="c">[2022]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2022</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (368 pages)</subfield><subfield code="b">50 b&w photos</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood—by one company specifically: Industrial Light & Magic. The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from the New Hollywood of the 1970s, incorporating lens flares, wobbly camerawork, haphazard framing, and other cinematography that called attention to the person behind the camera. In the context of digital imagery, however, these aesthetic strategies had the opposite effect, heightening the sense of realism by calling on tropes suggesting the authenticity to which viewers were accustomed. ILM’s style, on display in the most successful films of the 1980s and beyond, was so convincing that other studios were forced to follow suit, and today, ILM is a victim of its own success, having fostered a cinematic monoculture in which it is but one player among many</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / General</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Cinematography</subfield><subfield code="x">Special effects</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Computer animation</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Digital cinematography</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion picture industry</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion pictures</subfield><subfield code="x">Aesthetics</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Realism in motion pictures</subfield><subfield code="x">History</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.7560/325308</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-033770659</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.7560/325308</subfield><subfield code="l">FHA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FHA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV048391957 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T20:21:06Z |
| indexdate | 2024-07-10T09:36:50Z |
| institution | BVB |
| isbn | 9781477325315 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033770659 |
| oclc_num | 1339078104 |
| open_access_boolean | |
| owner | DE-Aug4 |
| owner_facet | DE-Aug4 |
| physical | 1 online resource (368 pages) 50 b&w photos |
| psigel | ZDB-23-DGG ZDB-23-DGG FHA_PDA_DGG |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | University of Texas Press |
| record_format | marc |
| spelling | Turnock, Julie A. Verfasser aut The Empire of Effects Industrial Light and Magic and the Rendering of Realism Julie A. Turnock Austin University of Texas Press [2022] © 2022 1 online resource (368 pages) 50 b&w photos txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022) Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood—by one company specifically: Industrial Light & Magic. The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from the New Hollywood of the 1970s, incorporating lens flares, wobbly camerawork, haphazard framing, and other cinematography that called attention to the person behind the camera. In the context of digital imagery, however, these aesthetic strategies had the opposite effect, heightening the sense of realism by calling on tropes suggesting the authenticity to which viewers were accustomed. ILM’s style, on display in the most successful films of the 1980s and beyond, was so convincing that other studios were forced to follow suit, and today, ILM is a victim of its own success, having fostered a cinematic monoculture in which it is but one player among many In English PERFORMING ARTS / General bisacsh Cinematography Special effects History Computer animation History Digital cinematography History Motion picture industry History Motion pictures Aesthetics History Realism in motion pictures History https://doi.org/10.7560/325308 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Turnock, Julie A. The Empire of Effects Industrial Light and Magic and the Rendering of Realism PERFORMING ARTS / General bisacsh Cinematography Special effects History Computer animation History Digital cinematography History Motion picture industry History Motion pictures Aesthetics History Realism in motion pictures History |
| title | The Empire of Effects Industrial Light and Magic and the Rendering of Realism |
| title_auth | The Empire of Effects Industrial Light and Magic and the Rendering of Realism |
| title_exact_search | The Empire of Effects Industrial Light and Magic and the Rendering of Realism |
| title_exact_search_txtP | The Empire of Effects Industrial Light and Magic and the Rendering of Realism |
| title_full | The Empire of Effects Industrial Light and Magic and the Rendering of Realism Julie A. Turnock |
| title_fullStr | The Empire of Effects Industrial Light and Magic and the Rendering of Realism Julie A. Turnock |
| title_full_unstemmed | The Empire of Effects Industrial Light and Magic and the Rendering of Realism Julie A. Turnock |
| title_short | The Empire of Effects |
| title_sort | the empire of effects industrial light and magic and the rendering of realism |
| title_sub | Industrial Light and Magic and the Rendering of Realism |
| topic | PERFORMING ARTS / General bisacsh Cinematography Special effects History Computer animation History Digital cinematography History Motion picture industry History Motion pictures Aesthetics History Realism in motion pictures History |
| topic_facet | PERFORMING ARTS / General Cinematography Special effects History Computer animation History Digital cinematography History Motion picture industry History Motion pictures Aesthetics History Realism in motion pictures History |
| url | https://doi.org/10.7560/325308 |
| work_keys_str_mv | AT turnockjuliea theempireofeffectsindustriallightandmagicandtherenderingofrealism |