El gag sonoro y visual
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Este documento describe las diferencias entre los gags visuales y sonoros. Explica que los gags visuales se originaron antes de la Primera Guerra Mundial y se basaban en acciones exageradas y violencia física simulada como persecuciones y peleas. Con la llegada del sonido, los gags se centraron más en frases ingeniosas, efectos de sonido sorprendentes y música. También introduce el concepto de sketch, que son escenas cómicas cortas que pueden ser visuales o sonoras y que a menudo incluyen una suces
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El documento contrasta los gags visuales y sonoros, así como su evolución. Los gags visuales surgieron antes de la Primera Guerra Mundial y se basaban en acciones exageradas y violencia física cómica. Con la llegada del sonido, los gags incorporaron frases ingeniosas, efectos de sonido sorprendentes y música. Los sketches son piezas dramáticas breves de uno a diez minutos que pueden incluir una sucesión de gags visuales o sonoros. Algunos gags se repiten a lo largo de una película
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History of Comedy Films
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Sci-fi films typically feature good versus evil binaries, heroic characters saving the planet from invasion or disaster through action and explosions. Villains are usually dark and blend in while heroes stand out in bright colors. Atypical sci-fi films, like Inception, have more complex characters without clear sides, a slower pace with focused shots, and normal settings like beaches instead of cities. They contain more dialogue than fighting and take place in current time rather than the future or past.
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1) There are different categories of British films based on financing and personnel. Many popular British films are co-productions with American financial backing.
2) Of the top 10 highest grossing films in the UK in 2014, several were American blockbusters while only a few could be considered truly British.
3) Hollywood studios effectively target global and domestic markets, including the UK, through blanket marketing strategies and release timing.
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History of Comedy Films
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Comedy films often use bright settings like cities and social gatherings. The camera work is not meant to draw attention and aims to show equality among characters. Sound effects and dialogue are important for comedy, with slapstick using exaggerated sounds and conversations driving humor. Characters are typically normal people paired with stupid ones to highlight their foolishness through contrast, or highly intelligent people lacking social skills who provide laughs through unawareness of normal behavior.
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2) Mystery films frequently feature questionable protagonists whose actions and memories the audience struggles to understand, making them suspects. This reflects internal feelings of mistrust of others and oneself. The protagonist of the author's film will have a questionable mindset.
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The history of Cinema spans over a hundred years, from the latter part of the 19th century to the present day and beyond. Motion pictures developed gradually from a carnival novelty to one of the most important tools of communication and entertainment, and mass media in the 20th century.
Motion picture films have had a substantial impact on the arts, technology, and politics. This slide will take you through the evolution of the Cinema and the how the story telling narrative changed over years.
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El documento resume la historia del slapstick y sus principales figuras en las primeras décadas del cine mudo. Mack Sennett fundó la compañía Keystone y popularizó el género con cortometrajes protagonizados por policías. Charlie Chaplin, Buster Keaton y Harold Lloyd perfeccionaron el slapstick y lo llevaron al largometraje, consagrándose como estrellas.
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El documento describe la historia del desarrollo del sonido en el cine. Comenzó con experimentos en la década de 1870 para grabar y reproducir sonido, incluido el fonógrafo de Edison en 1877 y los intentos de Muybridge de combinar fotografías con sonido. En la década de 1920, películas como Don Juan y El cantor de jazz introdujeron efectos de sonido y diálogos, marcando la transición del cine mudo al sonoro. Hacia 1930, el cine sonoro se había establecido como el nuevo está
Cine actual
Este documento resume los principales compositores de música para películas de animación y cine en las últimas décadas. Destaca los trabajos de Alan Menken, Hans Zimmer y Michael Giacchino en cintas animadas, así como de Ennio Morricone, John Barry y Michael Nyman en cine europeo. También resalta las colaboraciones entre Danny Elfman y Tim Burton, y cómo la banda sonora de Forrest Gump combinó música incidental con éxitos populares de las décadas representadas.
Historia del sonido en el cine
Este documento describe la evolución del cine mudo al cine sonoro y sus efectos en los actores y la música. Detalla las características del cine mudo como la actuación basada en el lenguaje corporal y los intertítulos. Luego resume los principales compositores de bandas sonoras y sus obras más importantes a lo largo de las décadas.
El sonido
Este documento describe las características técnicas del sonido y su función expresiva en las producciones audiovisuales. Explica conceptos como el tono, la intensidad, el timbre, los sonidos diegéticos y extradiegéticos. También cubre elementos sonoros como la voz humana, la música y los efectos, además de formatos de audio como WAV, MP3 y Ogg. Por último, detalla tipos de micrófonos y la técnica del efecto Foley.
Complementary colors
Complementary colors are color pairs directly across from each other on the color wheel, such as red/magenta and green, yellow and purple, and blue and orange. These color combinations create a striking visual contrast that is widely used in design, including for hair, fashion, interiors, architecture, and in nature, due to their attractive and eye-catching effect.
Remarkable points and straight lines in a triangle
The document discusses three notable points in a triangle: the circumcenter, which is the point where the perpendicular bisectors of the sides intersect; the incenter, which is the point where the angle bisectors intersect; and the centroid or geometric barycenter, which is the point where the three medians intersect.
Famous portraits
This document discusses creating textures using lines and points with a black marker by drawing curved or straight lines, shapes, and dots to form interesting textures, with the first step being to separate the background of the face.
El Resplandor
Este documento proporciona una lista de diferentes tipos de tomas de cámara, incluyendo planos generales, medios y cortos desde diferentes ángulos como cenital, nadir y contrapicado. También menciona equipamiento como estabilizadores de cámara y arneses para el operador.
Modular network
A modular network is a geometric structure composed of repeated, interconnected figures or modules that together cover a surface. Modular structures are found in nature and architecture. To create a modular stamp network, a single module shape is drawn on paper and transferred to a rubber plate, where a gouge removes unwanted areas to leave a raised stamp which can then be inked and printed to replicate the module across a surface.
Narrativa audiovisual
El documento compara el cine con la literatura, explicando que el cine utiliza técnicas como planos, secuencias y transiciones para relacionar y cambiar entre imágenes y temas de manera similar a cómo la literatura conecta y cambia entre párrafos y capítulos. Además, describe cómo el encuadre, la planificación, la angulación y el movimiento de la cámara permiten expresar situaciones y emociones desde diferentes puntos de vista.
Fotoperiodismo
Este documento describe la evolución histórica de la fotografía periodística y documental, desde sus inicios a principios del siglo XX hasta fotógrafos más recientes. Explica cómo pioneros como Jacob Riis, Lewis Hine y Walker Evans usaron la fotografía para denunciar problemas sociales y mejorar las condiciones de vida. También analiza el trabajo de fotoperiodistas como Eugene Smith, Dorothea Lange y Cartier-Bresson, quienes retrataron conflictos y culturas de todo el mundo.
Abstractionfiguration
The document contrasts three artistic styles: abstract art which uses only lines, shapes and colors without a subject; figurative art which retains references to the real world and human figure but provides a freer interpretation rather than exact representation; and realism art which revolted against romanticism to explore everyday life in accurate detail. Examples of abstract, figurative, and works by artists Ron Mueck, Rebeca Dautremer and Gerhard Richter are provided to illustrate the different styles.
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- 2. ¿Qué es un gag? • Es un elemento cómico visual y/o sonoro que hace gracia al espectador. • Una sucesión de gags no es una comedia, se tienen que sustentar en un guión sólido, en ocasiones irónico, donde se representa la realidad desde un punto de vista divertido y a veces surrealista.
- 3. El gag visual • Aparece en el periodo anterior a la Primera Guerra Mundial ( antes de 1918). • Se crea del género del SLAPSTICK (originario de los populares números del vodevil). • 1.Se representan acciones improvisadas y exageradas donde se simula la violencia física: persecuciones frenéticas, caídas, batallas de tartas, peleas a mamporros... • 2.Sucesión de gags. • 3.Sátira social en la que se ridiculiza aquello que representa el orden establecido: la policía, alcaldes, jueces,... aparecen caricaturizados.
- 4. El gag visual • Con la llegada del sonido cambian las técnicas de filmación y de expresión de los actores. Humor a partir de: • Frases, chistes y juegos de palabras ingeniosas. • Ruidos sorprendentes. • Música que resalte los momentos más divertidos.
- 5. El Sketch • Se representan SKETCHES, que son pequeñas piezas dramatizadas: • 1. Escenas generalmente humorísticas a veces improvisadas, de entre uno y diez minutos de duración, que van intercaladas en una representación teatral o cinematográfica o en un programa de televisión o radio. • 2. Una sucesión de gags pueden formar un sketch (en la televisión) o escenas cómicas (en el cine). • 3. Los sketches pueden visuales o sonorous.
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- 7. Gags fuera de campo • Cuando en una escena vemos en un primer plano un diálogo serio y en el fondo algo cómico.