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Special effects on the screen : faking the view from Méliès to motion capture / edited by Martin Lefebvre and Marc Furstenau.

Contributor(s): Material type: TextTextSeries: Publication details: Amsterdam : Amsterdam University Press, (c)2022.Description: 1 online resource (566 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9789048530205
  • 9048530202
Subject(s): Genre/Form: LOC classification:
  • TR858 .S643 2022
Online resources: Available additional physical forms:
Contents:
Table of Contents -- Introduction -- Martin Lefebvre and Marc Furstenau -- Concepts -- 1. Mind(ing) the Gap -- Martin Lefebvre -- 2. Images as Visual Effects -- John Belton -- 3. The Pragmatics of Trucage: Between Feigning and Fiction -- François Jost -- 4. Realism, Illusion, and Special Effects in the Cinema -- Marc Furstenau -- Techniques -- 5. Trick-o-logics 1810/1910: The Magic of Tricks and Special Effects -- Between the Stage and the Screen -- Frank Kessler and Sabine Lenk -- 6. Those Ordinary "Special Effects" -- François Albera
Donald Crafton -- 8. Photography and the Composite Image, or A Portrait of Méliès as Bergsonian Filmmaker -- Benoît Turquety -- 9. From Trick to Special Effect: Standardization and the Rise of Imperceptible Cinematic Illusions -- Katharina Loew -- 10. Special Effects and Spaces of Communication: A Semio-Pragmatic Approach -- Roger Odin -- 11. Image Capture, or The Control of Special Effects -- Philippe Marion -- Films -- 12. Murnau's Sunrise: In-Camera Effects and Effects Specialists -- Janet Bergstrom
Suzanne Liandrat-Guigues -- 14. Uncanny Visual Effects, Postwar Modernity, and House of Wax 3D -- Kristen Whissel -- 15. Oblivion: Of Time and Special Effects -- Sean Cubitt -- Envoi -- 16. The Effect of Miracles and the Miracle of Effects: Bazin's Faith in Evolution -- Dudley Andrew -- Bibliography -- Index
Subject: Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but also aesthetic component of filmmaking and an important part of the experience for the audience. In this volume, new directions are charted for the exploration of this indispensable aspect of the cinematic experience. Each of the essays in this collection offers new insight into the theoretical and historical study of special effects. The contributors address the many aspects of special effects, from a variety of perspectives, considering them as a conceptual problem, recounting the history of specific special effects techniques, and analysing notable effects films.
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Includes bibliographies and index.

Cover -- Table of Contents -- Introduction -- Martin Lefebvre and Marc Furstenau -- Concepts -- 1. Mind(ing) the Gap -- Martin Lefebvre -- 2. Images as Visual Effects -- John Belton -- 3. The Pragmatics of Trucage: Between Feigning and Fiction -- François Jost -- 4. Realism, Illusion, and Special Effects in the Cinema -- Marc Furstenau -- Techniques -- 5. Trick-o-logics 1810/1910: The Magic of Tricks and Special Effects -- Between the Stage and the Screen -- Frank Kessler and Sabine Lenk -- 6. Those Ordinary "Special Effects" -- François Albera

7. Black Magic: The "Space Between the Frames" in Cinematic Special Effects -- Donald Crafton -- 8. Photography and the Composite Image, or A Portrait of Méliès as Bergsonian Filmmaker -- Benoît Turquety -- 9. From Trick to Special Effect: Standardization and the Rise of Imperceptible Cinematic Illusions -- Katharina Loew -- 10. Special Effects and Spaces of Communication: A Semio-Pragmatic Approach -- Roger Odin -- 11. Image Capture, or The Control of Special Effects -- Philippe Marion -- Films -- 12. Murnau's Sunrise: In-Camera Effects and Effects Specialists -- Janet Bergstrom

13. King Kong, An Open Perspective -- Suzanne Liandrat-Guigues -- 14. Uncanny Visual Effects, Postwar Modernity, and House of Wax 3D -- Kristen Whissel -- 15. Oblivion: Of Time and Special Effects -- Sean Cubitt -- Envoi -- 16. The Effect of Miracles and the Miracle of Effects: Bazin's Faith in Evolution -- Dudley Andrew -- Bibliography -- Index

Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but also aesthetic component of filmmaking and an important part of the experience for the audience. In this volume, new directions are charted for the exploration of this indispensable aspect of the cinematic experience. Each of the essays in this collection offers new insight into the theoretical and historical study of special effects. The contributors address the many aspects of special effects, from a variety of perspectives, considering them as a conceptual problem, recounting the history of specific special effects techniques, and analysing notable effects films.

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