Book Description
"Time, this is what is central to video, it is not seeing as its etymological roots imply. Video's intrinsic principle is feedback."--Gary Hill (From "Inter-view")
For more than twenty years Gary Hill has been at the cutting edge of video, often setting the terms for its development and pointing it in new, exciting directions. Since the mid-eighties, Hill has established himself as one of the major voices in the medium. His work has been the focus of major exhibitions and retrospectives at museums in Europe and the United States, including the Guggenheim Museum in Soho, the Whitney Biennial, and the Lyon Museum in France. He has received numerous awards, including the coveted MacArthur Award (1998).
Hill's work focuses on the poetic and philosophical implications of temporal perception. Tall Ships, for example, is a large-scale video installation that presents haunting images of isolated human figures in a darkened corridor, seen from a distance, then close up. Hill's representation of time in videos is partly informed by his adolescent experiences as a surfer in Southern California: his Learning Curve series invites the viewer to sit at the end of a long table and watch a black-and-white projection of a wave folding and unfolding upon itself. Other themes in Hill's work include meditations on the self-referentiality of the medium and explorations of the connections and conflicts between language and image.
This new volume in PAJ's Art + Performance series is the first critical edition devoted to Hill's work. Edited by Robert C. Morgan, it anthologizes a number of critical essays tracing Hill's reception from the mid-seventies to today, a series of informative interviews, as well as a selection of Hill's writings--revealing him as an original and articulate thinker. The book also offers a detailed chronology of Hill's career, a bibliography and videography, and twenty-five photos from his installations. Morgan's introduction traces Hill's emergence as an artist out of the sixties' counter-culture and explores how his work creates dialogues with philosophers as diverse as Heidegger, Blanchot, Derrida, and Marshall McLuhan.
Customer Reviews:
Excellent look at the Twilight Zone disaster.......1999-08-17
This book not only delves into the Twilight Zone disaster but also examines the history of stunts-gone-wrong in Hollywood. It also examines the background of John Landis which reveals much about his motivations.
Average customer rating:
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Writers in Hollywood 1915-1951
Ian Hamilton
Manufacturer: Carroll & Graf Publishers
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ASIN: 0881847100 |
Book Description
"An extremely valuable contribution to the history of African American art." --Toni Morrison
"Oscar Michaeux and His Circle is a marvel of scholarly cooperative effort, an omnibus book of heroic scope befitting its authors ambition to recreate the complex African-American world of the 1920s that Micheaux and his movies meant to serve. . . . the book features an uncommonly rich trove of photographs, stills from his movies, advertisements, and other ephemera of his age . . . [the book is] remarkably free of the sort of opaque critical jargon that might have limited its access to the broad audience that should be drawn to it." --Thomas Cripps, author of Black Film as Genre and Making Movies Black
This is a landmark text, essential for teaching and reference. . . . A splendid collective achievement. --Hazel V. Carby, author of Cultures in Babylon: Black Britain and African America and Race Men
In this important, sumptuous new book, prominent scholars examine the surviving silent films of Oscar Micheaux--the most prolific African-American filmmaker to date and a filmmaking giant of the silent period. Both artist and showman, Micheaux stirred controversy in his time as he confronted issues such as lynching, miscegenation, peonage and white supremacy, passing, and corruption among black clergymen. His films were completely different from Hollywood pictures in the ways they spoke to black moviegoers.
These essays shed light not only on Micheaux's films but also on his immense influence on other filmmakers, actors, and writers. What these authors have to say will fascinate the general public as well as scholars in the fields of film studies, cultural studies, and African-American history. This thoroughly readable collection is a superb reference work lavishly illustrated with rare photographs.
Average customer rating:
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The Vision of Robert Flaherty: The Artist As Myth and Filmmaker
Richard Barsam
Manufacturer: Indiana Univ Pr
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The Cinema 1951
Manufacturer: Pelican
ProductGroup: Book
Binding: Mass Market Paperback
ASIN: B000CZ3G2C |
Book Description
Today women are lifting weights to build muscle, wrapping their bodies in seaweed to reduce unwanted water retention, attending weigh-ins at diet centers, and devoting themselves to many other types of "body work." Filled with the voices of real women, this book unravels the complicated emotional and intellectual motivations that drive them as they confront American culture's unreachable beauty ideals. This powerful feminist study lucidly and compellingly argues against the idea that the popularity of body work means that women are enslaved to a male-fashioned "beauty myth." Essential reading for understanding current debates on beauty, Body Work demonstrates that women actually use body work to escape that beauty myth.
Debra Gimlin focuses on four sites where she conducted in-depth research--a beauty salon, aerobics classes, a plastic surgery clinic, and a social and political organization for overweight women. The honest and provocative interviews included in this book uncover these women's feelings about their bodies, their reasons for attempting to change or come to terms with them, and the reactions of others in their lives. These interviews show that women are redefining their identities through their participation in body work, that they are working on their self-images as much as on their bodies. Plastic surgery, for example, ultimately is an empowering life experience for many women who choose it, while hairstyling becomes an arena for laying claim to professional and social class identities.
This book develops a convincing picture of how women use body work to negotiate the relationship between body and self, a process that inevitably involves coming to terms with our bodies' deviation from cultural ideals. One of the few studies that includes empirical evidence of women's own interpretations of body work, this important project is also based firmly in cultural studies, symbolic interactionism, and feminism. With this book, Debra Gimlin adds her voice to those of scholars who are now looking beyond the surface of the beauty myth to the complex reality of women's lives.
Customer Reviews:
Body Perfect.......2003-11-26
Gimlin achieves her purpose of sharing information on the justification behind body work through the format of her book. First, she presents her research then she provides a conclusion. Gimlin does this for each chapter, which changes as she looks at the different forms of body work. This allows the reader to assess the work and come to their own conclusion before reading her thoughts. This directly incorporates the reader into the book, which maintains their interest. The format is a major strength of the work.
Another strength of the book is the quotes from interviews that Gimlin conducts with the subjects and her field research. The interviews add reality to
the work and also encourage the interest of the reader. In Sociology, field research involves the researcher actually being in the environment of the subjects and even participating in their activities. This also adds to the element of realism and gives an everyday perspective of what women go through. These elements combine together to add personality to the work.
A weakness of the book would be the author's focus on only female body work. For comparison purposes, including males in the study would open up interpretations for the double standards placed, or shed light on whether men have the same stigmas to overcome. Gimlin answers the question on her exclusion of males by stating, "While contemporary men must undoubtedly work to negotiate the relationship between body and self, women, more than men, face social pressures that make the negotiation difficult and complicated" (Gimlin, 12).
An aspect of the book that I truly enjoyed was its feminist sociological viewpoint. So often we only see situations from a male viewpoint, even if the literature is geared towards women. Gimlin takes a whole new look at the beauty industry and its relationship to women and comes up with a perspective of the self-empowerment of women. We are not forced to conform by society, but we choose. As a young woman on my way out on my own, I value this book. It gives women a new outlook so that instead of feeling helpless and pressured to look a certain way in order to succeed and be happy, they can change or not change their body based on one thing: their own happiness. Gimlin's stress on
empowerment is something every woman can take away from this book. Her message is reinforced by her format and the purpose of the book is accomplished.
Book Description
Whether you are a new or seasoned user, you'll find everything you need to get started with Carrara 5 in The Carrara 5 Pro Handbook. This edition has been completely updated to teach everything you need to know about Carrara, especially many of the new and advanced features. Explore new and creative ways to use Carrara through a great collection of step-by-step tutorials written by industry experts, including two bonus comprehensive modeling tutorials with Eovia's newest application Hexagon. These hands-on tutorials progress from basic to advanced, guiding you from the basics of 3D modeling to the challenges of animation. The book is structured so that the process of creating 3D illustrations and animations flows logically from one chapter to another. And by using this approach you can easily learn the technical aspects of working with Carrara Pro and achieve a tangible understanding of the workflow involved in creating 3D content. By the end of the book, you'll know how to use the powerful tools of Carrara 5 Pro, have new and improved 3D skills, and have gained experience in 3D production concepts. This is a must-have resource for new and seasoned users a like!
Customer Reviews:
It's great ! Step by step modelling...like at school.......2007-07-30
I didn't want to use another 3d program as Carrara but I need it to build airplanes from drawn plans. This book gave me the possibility to understand how doing it! I have search around the web for tutorials on modelling airplanes or human figures But i never found something exaustive! This is a great book the only thing you need is to calm down your adventure spirit and follow step by step the author because sometimes result hard to understand even for novice like me.
A must have however !
A good book.......2006-06-14
This book covers a lot of modelling concepts for the beginner, and walks a person through the steps needed to model in a variety of ways (spline and vertex), and even has a chapter on modelling with Hexagon. Furthermore, the book briefly mentions the pro's and con's of UV, procedural, and projection mapping. Its tutorials are good for getting your feet wet, and a pretty thorough introduction to Carrara.
It may be missing some new Pro 5 features, so it might not be ideal for the seasoned Carrara veteran, however for beginners and intermediate people, its a fantastic resource.
I initially let some of the negative reviews persuade me from not buying the book, however with so few printed resources, I decided to get it. It was well worth the money spent, and I'm very glad I did buy it.
Much needed book!.......2006-06-05
Besides being the only Carrara book available besides the manual, this is still a great book. The author also wrote a Carrara 3 book, which has alot of the same wording, but the tutorials are different, so I recommend having both of them. The manual that comes with Carrara tells you what the program can do and the basic steps to do it, but this book tells you step by step how to do things. And sometimes you absolutely need to have two different views on things. Carrara is a low end 3D modeler, but it's still very hard to learn, not withstanding that even after two major patches, Carrara 5 is still a very buggy program!
Good Beginners Tutorial Book.......2006-03-16
This is a beginning/intermediate level book in tutorial format giving an introduction to 3D modelling using the Carrara 5 Pro software. 3D modelling is not simple, regardless of the software selected. And Carrara is no exception. This book though uses a step by step approach that introduces new terms like texturing, caustics and rendering with a combination of text and illustration that is as clear as any explanation that I've ever seen.
Throughout the book all kinds of images are used as illustrations. This includes fairly complex structures such as airplanes, cartoon characters, and human beings that get pretty close to photographic quality.
The book is supplied with a CD-ROM that includes a demonstration version of Carrara 5 Pro for Windows and Macintosh OS X. It also includes the modeler package Hexagon (Version 1.2). If you are thinking of a 3D package, this book with the demo software would clearly give you enough information to decide if Carrara is the package you want to use.
This book is the first one to come out that covers Carrera 5. Being the first, it isn't as complete as some of the other books will be. But once again, this is a book for beginners.
A solid book that is packed with useful tutorials.......2006-03-10
This a great book that really fills a void in the Carrara community. While there are many online resources for helping users learn this app, this is the only comprehensive project-based book available (other than the "Carrara 3 Handbook" by the same author). It is aimed primarily at the intermediate user; however, it contains some 3D basics available in the first few chapters to help beginners get up to speed, and some advanced tutorials in the last few chapters that advanced users can benefit from as well.
I could go into detail about the content of each chapter, but one of the reviewers above already does a great job at covering them.
The only reason I didn't give this book a full 5 stars (would have just gone with 4 and 1/2, if Amazon let me..) is because there are some cool new features of Carrara 5 that didn't make the book in time for its release. I will say that the upside to this is that we still have a huge book that was released within *just over a month* of the software's release.
Learning any 3D app is not easy. This book significantly cuts down on the learning curve with its project-based, easy-to-understand content. If you're looking for a glorified manual, then look elsewhere. If you want an informative, hands-on content-rich book that makes learning Carrara really fun and practical, then pick up this book. At around $30, you're absolutely getting your money's worth.
Average customer rating:
- Good book, but not on texturing
- The One Book
- Ed Sertab, Associate Professor of 3D Animation
- Lots of mapping theory, no texture painting
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Texturing: Concepts and Techniques (Graphics Series)
Dennis Summers
Manufacturer: Charles River Media
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Digital Texturing & Painting
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![Digital Lighting and Rendering (2nd Edition) ([digital])](http://images-eu.amazon.com/images/P/0321316312.01.THUMBZZZ.jpg)
Digital Lighting and Rendering (2nd Edition) ([digital])
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3D Game Textures: Create Professional Game Art Using Photoshop
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Digital Lighting & Rendering
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The Dark Side of Game Texturing
ASIN: 1584503009 |
Book Description
Texturing: Concepts and Techniques is about the aesthetics and design issues of creating and using interesting textures for digital 3D animation. This beautifully illustrated, full color book teaches artists how to create stunning and convincing textures using the popular 3ds max TM , Maya ® , and LightWave 3D ® programs. It describes the theory behind many aspects of the software, to give artists a deeper understanding of the technology, and its past, present, and future. It helps readers understand the limitations that 3D animation places on creating quality imagery, and details the artistic techniques behind creating convincing textures, not just realistic or photorealistic ones. The tutorials and techniques included throughout the book don't just show users how to recreate a texture, but take them deep into the tools of the programs to help them really understand how and why they work. After working through the tutorials, users will be able to take their skills to the next level and create their own stunning textures!
Customer Reviews:
Good book, but not on texturing.......2006-12-10
The funny thing about this book with TEXTURING across the cover is that it seems to cover everything *except* what I'd consider texturing. It has a really good discussion on basic art design principles, then extensive coverage of lighting, color, materials, shaders, and even UV mapping, but nothing on actually creating textures!
In any case, I still recommend this book. All the materials it does cover it covers well. There are really nice color pictures throughout the book, which really helps given the topics.
One thing to note though is that after presenting some topic, the book generally tells you how to accomplish that in Max, Maya, and Lightwave. If you use one or more of those tools, then great, if not, then I think the discussion will still be useful, but obviously you'll get a little less out of it then those who do use those tools.
The One Book.......2005-10-20
If you can only have one book on texturing/shading this is the book you would want. As a teacher I look for information on how to do things but more importantly, why. This is an amazing book with depth and breadth to suit the novice, the adept and the expert. You will discover the roots of the science and art of texturing in addition to the how-to.
Ed Sertab, Associate Professor of 3D Animation.......2005-06-21
If you are a freelance professional or a student of 3D you are going to find this book very useful. Every year I have to review several books to try to find a teaching tool that is clear and concise. This book hit the spot.
The book fills two vital needs. Not only will you learn to use the color and lighting tools in your program, but if you need to get up to speed on the other software packages that are covered, this book is the answer. The book covers Maya, 3D Studio Max and Lightwave!
If you work for various clients you will find this is a great reference to help get going regardless of software used in most of the production studios you would encounter. If you are a student or have just graduated, this is a wonderful tool to keep handy and help convert from one package to another, fast. There is just enough background or theory to let you understand what you are doing with the tools, as well as actual useful examples that reinforce the instructions in the book. But, wait, that is not enough, what I really appreciate, is that Mr. Summers actually talks about the "Gotchas" and traps that seem to be inherent in all 3D packages. These are the little undocumented software "features" that usually take hours or days of experimentation, e-mails to colleagues, or digging through the underbelly of the internet, to uncover or understand.
Now two things that bother me about the book, and hence the four stars instead of five, are the name of the book and the errors found in it. Now, the errors are all minor and I never found an error that was so bad as to make a lesson unusable (like I have found in so many other books and online tutorials), but I would believe that by now publishers should be able to find good technical editors. Which leads me to the title.
The title just does not do justice to the material. There is so much more in the book then just texturing. I find the book more of a good instructional manual or reference for color and lighting in general. For example, in one lesson Mr. Summers covers not only how to use and make layered textures, but also how to create and control displacement maps and backgrounds, without being overwhelming, dryly technical, or worse, confusingly abbreviated, like so many online tutorials.
The book is not a guide on how to paint textures, there are plenty of... well I call them "efforts" to cover that arena. I suggest you find a way to carefully review those books if that is what you are after. Instead, Mr. Summers has provided a way to form that mental map of the software that will allow you to use it or learn it effectively. In today's fast paced job market and in the everchanging academic environment, this could be the edge you need to succeed.
Lots of mapping theory, no texture painting.......2004-06-26
I love to paint textures, so I looked forward to this book. I just want to straighten that out for texture artists.
This book has a lot of theory on mapping, shaders, procedurals maps and so on. But no information on painting textures. If you are looking for a more theoretic reader on this subject rather than an artistic book, then it might be of use to you. As such I guess programmers would also benefit in part from it.
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