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This updated edition of a best-selling classic shows you how to structure your visuals as carefully as a writer structures a story or composers structure their music. The Visual Story teaches you how to design and control the structure of your production using the basic visual components of space, line, shape, tone, color, movement, and rhythm. You can use these components to effectively convey moods and emotions, create a visual style, and utilize the important relationship between the visual and the story structures. Using over 700 color illustrations, author Bruce Block explains how understanding the connection between story and visual structures will guide you in the selection of camera angles, lenses, actor staging, composition, set design and locations, lighting, storyboard planning, camera coverage, and editing. The Visual Story is an ideal blend of theory and practice. The concepts and examples in this new edition will benefit students learning cinematic production, as well as professional writers, directors, cinematographers, art directors, animators, game designers, and anyone working in visual media who wants a better understanding of visual structure.

PurposeUsing visual metaphors with physical artefacts can improve collaboration planning processes in strategic meetings. The study presented here aims to examine these processes.Design/methodology/approachIn this study, the participants used the LEGO® Serious Play® method in strategic planning meetings. The meetings were video recorded, and a thematic analysis method was applied to produce coded themes and narratives of collaboration planning based on the visual metaphors used in the meetings.FindingsThe study participants built LEGO artefacts representing three primary visual metaphors of collaboration focussing on landscapes, interaction processes and shared goals. The participants began with building landscapes by stacking and connecting LEGO base pieces as surfaces to build on, and to represent separate physical locations and more abstract business concepts. Alternatively, landscapes were built to centre activities around key business stakeholders. In terms of interaction processes, the participants lined up LEGO character pieces to explore communications between product developers, salespersons, customers and external partners. As for shared goals, tower-like high structures were created to represent open discussions, data sharing, prototyping and threats that should be avoided.Originality/valueThis study shows that using visual metaphors with physical artefacts provides an effective method for planning strategic collaboration areas, communications and future goals. Creating and communicating visual metaphors using physical artefacts enhances the creativity and participation of the meeting participants. Our future work will focus on studying the use of physical artefacts other than LEGO pieces in different group meetings contexts to better understand the role of visual metaphors.

Sculpture has been a central aspect of almost every art culture, contemporary or historical. This volume comprises ten essays at the cutting edge of thinking about sculpture in philosophical terms, representing approaches to sculpture from the perspectives of both Anglo-American and European philosophy. Some of the essays are historically situated, while others are more straightforwardly conceptual. All of the essays, however, pay strict attention to actual sculptural examples in their discussions. This reflects the overall aim of the volume to not merely “apply” philosophy to sculpture, but rather to test the philosophical approaches taken in tandem with deep analyses of sculptural examples. There is an array of philosophical problems unique to sculpture, namely certain aspects of its three-dimensionality, physicality, temporality, and morality. The authors in this volume respond to a number of challenging philosophical questions related to these characteristics. Furthermore, while the focus of most of the essays is on Western sculptural traditions, there are contributions that feature discussion of sculptural examples from non-Western sources. Philosophy of Sculpture is the first full-length book treatment of the philosophical significance of sculpture in English. It is a valuable resource for advanced students and scholars across aesthetics, art history, history, performance studies, and visual studies.

Online video can bypass police jurisdictional influence over traditional mass media and may be affecting police-civilian interactions in American public space as the initial cusp of a paradigm shift. Where a camera may have videorecorded police actions, exclusive police custody of that camera or its recording correlates with the video being lost, destroyed, reported as nonexistent, or concealed from the public. Where police destroy, falsify, fail to file, or omit data from required documentation, online video correlates with improved accountability through police disciplinary actions. Online video correlates with significantly higher civil suit settlements for police misconduct.

You can also use the Camera app to record a video with your device. This video explains how to record a video and find it in your Pictures library.

Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In this history, Michael Z. Newman casts video as a medium of shifting value and legitimacy in relation to other media and technologies, particularly film and television. Video has been imagined as more or less authentic or artistic than movies or television, as more or less democratic and participatory, as more or less capable of capturing the real. Techno-utopian rhetoric has repeatedly represented video as a revolutionary medium, promising to solve the problems of the past and the present—often the very problems associated with television and the society shaped by it—and to deliver a better future. Video has also been seen more negatively, particularly as a threat to movies and their culture. This study considers video as an object of these hopes and fears and builds an approach to thinking about the concept of the medium in terms of cultural status.

Making an exquisite and unexpected connection between the old and the new, Digital Baroque analyzes the philosophical paradigms that inform contemporary screen arts. Examining a wide range of art forms, Murray reflects on the rhetorical, emotive, and social forces inherent in the screen arts’ dialogue with early modern concepts.

Focusing on the aesthetics of video, Timeshift tests current semiotic, postmodernist and psychoanalytic approaches in the laboratory of real-life video viewing.

In There’s No Place Like Home Video, James Moran offers a history of amateur home video, exploring its technological and ideological predecessors, the development of event videography, and home video’s symbiotic relationship with television and film. He also investigates the broader field of video, taking on the question of medium specificity: the attempt to define its unique identity, to capture what constitutes its pure practice.

This chapter contains sections titled: The Restoration of Early Films in Light of a Theory of Film Archival Practice Frameworks Concepts (Digital) Restoration of Early Films (Digital) Exhibition of Early Films