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Special effects : still in search of wonder /
Designed to trick the eye and stimulate the imagination, special effects have changed the way we look at films and the worlds created in them. Computer-generated imagery (CGI), as seen in Hollywood blockbusters like Star Wars, Terminator 2, Jurassic Park, Independence Day, Men in Black, and The Matr...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Documento de Gobierno Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
New York :
Columbia University Press,
©2002.
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| Colección: | Film and culture.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Pierson, Michele. | |
| 245 | 1 | 0 | |a Special effects : |b still in search of wonder / |c Michele Pierson. |
| 260 | |a New York : |b Columbia University Press, |c ©2002. | ||
| 300 | |a 1 online resource (231 pages) : |b illustrations | ||
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| 490 | 1 | |a Film and culture | |
| 504 | |a Includes bibliographical references (pages 201-225) and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Introduction: Special effects and the popular media -- Magic, science, art : before cinema -- From cult-classicism to technofuturism : converging on Wired magazine -- The wonder years and beyond : 1989-1995 -- Crafting a future for CGI -- Conclusion: The transnational matrix of SF. | |
| 520 | |a Designed to trick the eye and stimulate the imagination, special effects have changed the way we look at films and the worlds created in them. Computer-generated imagery (CGI), as seen in Hollywood blockbusters like Star Wars, Terminator 2, Jurassic Park, Independence Day, Men in Black, and The Matrix, is just the latest advance in the evolution of special effects. Even as special effects have been marveled at by millions, this is the first investigation of their broader cultural reception. Moving from an exploration of nineteenth-century popular science and magic to the Hollywood science fiction cinema of our time, Special Effects examines the history, advancements, and connoisseurship of special effects, asking what makes certain types of cinematic effects special, why this matters, and for whom. Michele Pierson shows how popular science magazines, genre filmzines, and computer lifestyle magazines have articulated an aesthetic criticism of this emerging art form and have helped shape how these hugely popular on-screen technological wonders have been viewed by moviegoers. | ||
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| 650 | 0 | |a Science fiction films |x History and criticism. | |
| 650 | 0 | |a Science fiction. | |
| 650 | 0 | |a Cinematography |x Special effects. | |
| 650 | 6 | |a Films de science-fiction |x Histoire et critique. | |
| 650 | 6 | |a Cinéma |x Effets spéciaux. | |
| 650 | 7 | |a PERFORMING ARTS |x Film & Video |x Reference. |2 bisacsh | |
| 650 | 7 | |a PERFORMING ARTS |x Film & Video |x History & Criticism. |2 bisacsh | |
| 650 | 7 | |a Cinematography |x Special effects |2 fast | |
| 650 | 7 | |a Science fiction |2 fast | |
| 650 | 7 | |a Science fiction films |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Pierson, Michele. |t Special effects. |d New York : Columbia University Press, ©2002 |z 0231125623 |w (DLC) 2001055263 |w (OCoLC)48397478 |
| 830 | 0 | |a Film and culture. | |
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